Apparel Magazine // May 2017

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MAY 2017 I VOL 50 I NO 5

​NEW ZEALAND’S #1

Supplier​​of Industrial Sewing, Embroidery, Steam​​& Curtain Automated Machinery.​

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JOURNEY OF A GARMENT pg 20 7 BEAUTY NEWS 9 ESSENTIAL STOCK 14 RADAR 18 PHOTOSHOOT 28 STUDENT LIFE

WILL GENDERLESS CLOTHING EVER BECOME MAINSTREAM?

With more and more brands attempting to go genderneutral, such as H&M, Prada and Gucci, it’s fair to say that maybe, just maybe, this could work. A number of high-end luxury brands have also featured both male and female models for womenswear or menswear runway show in an attempt to join the ‘trend’. Ditching stereotypical gender clothing in a bid to clothe both sexes is most commonly read as traditional or even archaic, but social media eats up this ‘trend’. So, will it translate well into retail? And no, I’m not talking about girls wearing boyfriend jeans.

I wonder what would happen if the world put the hypersexualised women’s clothing and masculine menswear to bed and we all transcended into a new generation in celebration of clothing and not gender? Realistically, it’s a tall order, but one I am left guessing how and when it will ever be filled.

How long will it take? Two years or two hundred years?

Today, people all over the globe of all ages are constructing their identities more freely than ever before, and as a result, consumption patterns are no longer defined by a traditional demographic such as age or – you guessed it – gender.

Personally, I don’t believe that the majority of consumers are ready to retire their gender dress codes that have dominated and moulded their lives and unique personalities. At the end of the day, society needs a makeover for sure, but today?

Perhaps not. The future is to continue to blur the lines between gendered collections and wait to see what the consumer actually wants. Retailers will have to watch their customers carefully and grow with them as the times they are a changin’.

In this issue, we explored the companies behind the garments our local brands make, from concept to the final display. To read more, turn to page 20.

Meanwhile, a young businessman had just started his own firm. He rented a beautiful office and had it furnished with antiques. Sitting at his desk, he saw a man coming into his office through the window. Hoping to look like a hot shot, he picked up the phone and started to pretend he was working on a big business deal. He threw large figures around, debated and finally hung up the phone.

He asked the visitor, “Can I help you?” To which the man replied, “Yeah, I’m here to activate your phone lines.”

caitlan@reviewmags.com

Men In This Town: ALONE IN A CROWD

By Giuseppe Santamaria Alone in a Crowd follows the success of Giuseppe Santamaria’s first two books Men in this Town and Women in this Town, spotlighting men’s fashion in some of the most stylish cities around the globe. Spanning from 20142016, Giuseppe takes us to the likes of Sydney, Melbourne, Tokyo, London, Paris, Florence, Madrid, New York, and Toronto. Following suit of the two previous books in the series, Giuseppe’s latest instalment captures his subjects with an outsider looking in approach, photographing menswear enthusiasts as they go about their day, be it to an event, work or play.

Bobbi Brown: BEAUTY FROM THE INSIDE OUT

By Bobbi Brown This lifestyle guide from world renowned makeup artist and cosmetics founder Bobbi Brown is sure to be a hit with every beauty fanatic and aspiring makeup artist alike. The book includes the illuminating makeup techniques and stunning makeovers that are synonymous with the Bobbi Brown brand, but also features beauty food recipes, fitness tips and nutrient recommendations.

The guide also includes guest contributions from experts in the world of wellness and delivers an inspiring message on confidence and inner beauty.

VOGUE AND THE METROPOLITAN MUSEUM OF ART COSTUME INSTITUTE: Parties, Exhibitions, People British design house Mulberry has named a number of their classic bag styles after celebrities including Lana Del Rey and Alexa Chung.

Between 10-25% of Western women do not wear a bra and up to 85% of women who do, wear the incorrect size.

There is a bulletproof tie in existence which can stop a 9mm bullet.

CHAIRMAN PUBLISHER GENERAL MANAGER EDITORIAL DIRECTOR EDITOR STAFF WRITER

ADVERTISING SALES PHOTOGRAPHER

2 I May 2017

Peter Mitchell - peter@reviewmags.com Tania Walters - tania@reviewmags.com Kieran Mitchell - kieran@reviewmags.com Sarah Mitchell - sarah@reviewmags.com Caitlan Mitchell - caitlan@reviewmags.com Mark Fullerton - mark@reviewmags.com Courtney Macris - courtney@reviewmags.com Caroline Boe - caroline@reviewmags.com Caitlan Mitchell - caitlan@reviewmags.com

Nike co-founder Bill Bowerman created his first outsole using a waffle maker.

The original one he used is now kept by the company as a treasured display piece.

SENIOR DESIGNER

Coco Chanel has been credited with inventing the concept of “costume jewellery” by creating pieces that mixed real pearls and diamonds with fake stones.

Raymund Sarmiento - raymund@reviewmags.com

ISSN 1171-2287

Level 3, Suite 9, 20 Augustus Tce, Parnell, Auckland, PO Box 37 140, Parnell, Auckland Tel (09) 304 0142 Fax (09) 377 2794 NZ Apparel is published monthly under licence by Review Publishing Co Ltd. Please direct all enquiries and correspondence to NZ Apparel. The opinions and material published in this edition of NZ Apparel are not necessarily those of the publishers unless specifically stated. All material appearing in NZ Apparel is copyright and may only be reproduced with the consent of the publisher. Copyright 2017 NZ Apparel Magazine.

By Hamish Bowles This book celebrates fashion’s most extravagant event: The Metropolitan Museum of Art’s annual Costume Institute exhibition. Written by Vogue international editor-atlarge Hamish Bowles, the pages showcase historical images from past exhibitions alongside their inspired Vogue shoots from some of the biggest names in fashion photography including Annie Leibovitz and Mario Testino. Readers also get an inside look at the iconic Met Gala events, featuring images of the parties and the glamourous attendees over the years.

HEIMAT

By Ellen von Unwerth German photographer Ellen von Unwerth claims her new coffee table book Heimat is a reflection of her Bavarian roots but with a heightened, parody-like twist.

Bursting with colour, the images include tongue-in-cheek clichés such as women milking cows and frolicking around in the fields.

In her trademark risqué style, Ellen’s subjects are photographed in suggestive poses and often without clothes.

NZ FAS H I O N W E E K . C O M

E V E N T:

2 8 T H

AU G U ST

-

2 N D

S E P T E M B E R

Photo Credit: Anastasia Nenarokova

CELEBRATING THE NZ FASHION INDUSTRY AND ITS CREATIVE TALENT.

AC C E P T I N G

D E S I G N E R

A P P L I CAT I O N S

N OW

For more information: Email: admin@nzfashionweek.com Phone: +64 9 377 8033 Social: #NZFW2017

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APC INNOVATE ACQUIRES THE DISPLAY GROUP

SHOW US YOUR PEARLIES

Deadly Ponies are releasing a beautiful new collection which has its origins in philanthropy. Their ‘Pearlies’ collection is inspired by the mother-ofpearl button embellishment made iconic by London charity workers, The Pearly Society. The Pearly Society came about through Henry Croft, who started out life as an orphaned street sweeper in 18th Century London, and collected lost mother-of-pearl buttons which he sewed onto a suit, in a pattern which is now replicated and celebrated

by The Pearly Society. Deadly Ponies’ Pearly collection features new versions of classic styles Mr Teddy and Mr Porter, as well as new style ‘Lucky Charm’. The bags will have hand-stitched pearl buttons in a diamond pattern, as well as in a striking horse-head insignia.

In honour of the charitable origins of the collection, all the proceeds of the ‘Lucky Charm’ bag will go to Lifewise, an organisation which works to house the homeless of New Zealand.

SOLD OUT EIGHT WEEKS EARLY

The June edition of Fashion SVP has officially sold out eight weeks before the event according to the event organisers.

The European sourcing event is one of the fastest growing fashion industry events in the UK. The June edition will be held at London Olympia on 27-28th June. “Demand for Fashion SVP has been phenomenal.

After our successful launch last year of the second annual edition, the show has seen exceptional growth of over 160%, in the last 18 months. We have just sold out the existing plan and have secured extra space for the many exhibitors still wishing to join the event,” said Fashion SVP director Buzz Carter. “The show is also packed with many new exciting features making Fashion SVP the number one destination for brand buyers at the start of the next buying cycle.”

4 I May 2017

APC Innovate has announced its purchase of the assets of The Display Group. Display Group has long been recognised as New Zealand’s premier designer and manufacturer of display products.

With this acquisition APC Innovate is now able to offer the market a full suite of Point of Purchase solutions including Displays (permanent and semi-permanent), a complete graphics service, packaging and logistics, all manufactured and supplied using in-house equipment and resources. The Display Group business will be transitioned across to APC’s East Tamaki

site over the next two months, however it will be business as usual for both companies. “We are very excited with this new combined business and the range of products and services we will be able to offer customers,” said Tim Houlden, chief executive of APC Innovate.

TIMELESS AND UNDERSTATED

Chaos & Harmony have launched a new collection called Bridal Boutique. The new collection was inspired after a search for understated and timeless wedding shoes that can be worn again. The local brand has released the line of elegant footwear in hues of snow, gold and nude. Creative director Rebecca Anderson said it was a natural evolution for the brand.

Determined to create shoes that are timeless and can be worn countless times, long after your wedding day, Anderson said it all started with their sales manager’s bridal party all wearing the Passion sandal by the brand.

“We were aware people had worn our shoes in the past, so we thought why not take some of our muchloved Chaos & Harmony styles and reimagine them for brides and their bridal party?” As a result, Anderson and the team ended up creating completely new styles alongside trademark power heels, strappy stilettos and classic pumps. There are also simpler styles with low or mid-heels, perfect for outdoor weddings with uneven terrain. “We want our brides to feel their very best and hope our shoes help create that.”

BIGG AT FARMERS

Providing big guys with fashionable, comfortable, and affordable clothing, JOHNNY BIGG has launched a new capsule collection for Autumn 2017 and can be found in ten selected Farmers across New Zealand. The debut into Farmers will see JOHNNY BIGG launch the new Autumn 2017 collection, which is inspired by men’s collections in London, LA and Europe.

Known for providing on trend pieces at affordable prices, the range encompasses a selection of smart casual and suiting options.

Key pieces within the new Autumn 17 range at Farmers include casual hooded jackets, a wool mix Melton coat and a range of long sleeve shirts which can be styled with a pair of classic stretch chinos or dress pants for a smart winter look. Occasion wear is also covered, with navy and black suiting options also available. “The expansion into the New Zealand market was a natural opportunity for the brand. Following the success and popularity of the e-store, we are excited to introduce JOHNNY BIGG into Farmers and offer customers a place to shop directly in-store.”

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FINALIST IN INTERNATIONAL WOOLMARK PRIZE COACH TO ACQUIRE KATE SPADE & CO

After rumours first surfaced in December, Luxury brand Coach has announced it is buying Kate Spade & Co for $2.4 billion USD, or $18.50 USD per share. CFO of Coach, Kevin Wills explained that the synergies between the two brands should bring $50 million USD in cost savings three years after the deal is settled and most likely in the third quarter.

Analysts added that the $2.4 billion price tag is in Coach’s favour. The deal will improve scale and inventory management and streamline Kate Spade’s supply chain. “Coach has recently run the ruler over a number of businesses including Burberry and Jimmy Choo. In our view, this deal is sensible both in terms of the brand fit and the premium that Coach is paying,” said Neil Saunders, MD of GlobalData Retail.

He added that Kate Spade has significant potential because it is in the early stages of developing its own lifestyle brand and entering new product areas.

Kate Spade’s audience is much younger than Coach who has had some difficulty attracting the younger consumer. The new acquisition also allows Coach to expand its customer base and Saunders added that it prevents the Kate Spade brand falling into the hands of a rival like Michael Kors.

“Current management has made good progress, but we believe that Coach can add further value on the sourcing and distribution side, as well as some fresh thinking on the design front. It can also bring its experience of reinvigorating a brand to some aspects of Kate Spade’s operation which, over recent quarters, have become too reliant on discounting and promotions,” said Saunders. “There will be reasonable scope for synergistic savings which, in addition to the sales benefits, will help Coach to generate a good return on investment.” Saunders explained that ultimately Coach wants to become a business with a portfolio of distinct and compelling luxury brands. However, founders Kate Spade and her husband Andy Spade will not see a penny of the sale as they cashed out more than a decade ago in 2006. Spade launched her brand in 1993 and by 1998, annual revenues had reached $27 million USD. In 1999, the duo sold 56 percent of the company to Neiman Marcus for $34 million USD and 44 percent to Neiman in 2006 for $59 million USD. A week after the second acquisition, Neiman Marcus offloaded the entire company to Liz Claiborne for $124 million USD including debt.

For the second year running, Harman Grubiša has been announced as a finalist for the International Woolmark Prize. The prize is one of the most coveted designer awards in the industry. First launched in 1953 by the International Wool Secretariat, the 1954 prize was awarded to Karl Lagerfeld and Yves Saint Laurent. Last year, Harman Grubiša worked with a textile developed by Dormeuil that used ground Pounamu (Jade) into the fibre giving it a lustrous shine. “We were really stuck by our identity as New Zealanders and the unique resources we have here,” Jessica Grubiša explained. Now the two designers are working on their next concept, and said they have a reasonably clear direction. “We are

always dreaming, but this concept literally came from a dream.”

As the only New Zealand brand nominated, Harman Grubiša will compete in the Sydney regional event in July with the chance to be selected to represent their region at the final awards. Designers Jessica Grubiša and Madeliene Harman will present one look in Merino wool and a six-piece capsule concept to industry experts with 12 finalists each receiving $70,000AUD for financial contribution towards their next collection and an invitation to participate in the international finals. The overall winner will receive $200,000AUD as prize money.

AS COLOUR ACROSS THE DITCH

AS Colour has launched its new flagship store in Melbourne designed by Kiwi design studio Think & Shift. The crisp space opened its doors last month and can be found in the Queen Victoria Building in the heart of the city. The bright and airy fitout is simple, effective and stands out from the dark neighbouring spaces. Director James McNab led the Think & Shift team took a fresh take on AS Colour’s signature style store. The ‘less is more’ idealogy allows the clothing to take centre stage and pushes the brand’s key principles of quality, detail, and simplicity.

LEVI’S GIVES BACK

THE BOOMERANG EFFECT

Included in Chanel’s SS17 pre-collection accessories, nestled among the standup paddle board and logo emblazoned tennis balls, is a boomerang. It is black, shiny and has the Chanel logo stamped in the middle of the curve. It immediately captured the attention of the internet when it was Instagramed by makeup artist Jeffree Star. The outcry was instant, as many users pointed out that this hadn’t been created or designed for Chanel by a person of Aboriginal or Torres Strait Island heritage, who invented the boomerang as a hunting weapon. There are also no proceeds going to Indigenous Australian peoples, who are traditionally vulnerable and marginalised groups. The boomerang is selling for close to NZ$2,000, and is a far cry from the boomerangs made by Aboriginal and Torres Strait Islander artists and craftspeople creating them today. While cultural appropriation has always plagued the fashion industry, this is a particularly troubling incident, as it is almost as if its heritage has been erased by Chanel’s glossy black paint finish. Chanel has made boomerangs before, reportedly as early as 2005, and have never faced a backlash this large or fierce. Following the public response, Chanel made this announcement: “Chanel is extremely committed to respecting all cultures, and deeply regrets that some may have felt offended. The inspiration was taken from leisure activities from other parts of the world and it was not our intention to disrespect the Aboriginal and Torres Strait Islander community and the significance of the boomerang as a cultural object.” Despite this, the boomerang is still featured on their website.

6 I May 2017

As the world we live in becomes more uncertain every day, the fashion industry has been responding with aplomb from designers speaking out against injustice, to embracing more ethical supply chains, and taking the lead in philanthropic matters. Levi’s have previously donated large amounts of clothing to refugees in Europe, and are now giving US$1m to a variety of organisations which support vulnerable people and their civil liberties. These groups include refugees, immigrants, religious minorities and transgender people. The cause is near and dear to the heart of the Levi’s organisation, as Levi Strauss himself was a German immigrant to the US.

BLEND IT YOURSELF

The new BIY Blend It Yourself Pigment Drops by Clinique allow users to choose their coverage. One drop for sheer coverage, two for medium and three for a fuller coverage. With four shades to choose from, you can transform any moisturiser into a BB or CC or full coverage foundation depending on the amount you add. The highly concentrated pure pigments are suspended in a super-lightweight, dual phase formula.

Once the two phases are combined by shaking thoroughly, the formula turns into a thin fluid texture.

MECCA MAXIMA COMING TO WELLINGTON

Mecca Cosmetica has opened their second large-scale Maxima store in Wellington. The store is significantly bigger than their Mecca Cosmetica stores and stocks some brands which are not available in their Cosmetica stores. Mecca Maxima has a full staff of Beauty Experts on hand with expert knowledge about their cosmetics and fragrances. Some of Mecca Maxima’s most popular products include NARS foundation and concealer, Stila’s One-Step Correct Primer, and Urban Decay’s All Nighter setting spray.

GOLD STANDARD FOR KIWI ANTI-AGING SERUM

Snowberry New Zealand has launched their new Intensive Renewal Face Serum, which is scientifically proven to re-densify ageing skin. Snowberry developed the serum at the University of Auckland and has been through clinical testing in France, which awarded it the Gold Standard. The serum contains a rejuvenating peptide complex called ‘eProlex’ which contains vitamins C, B and E, which are all essential for healthy skin.

BARBED WIRE BROWS

The latest Instagram beauty craze is barbed wire eyebrows – shaping your eyebrows into tufts and waxing them to point in opposing directions like barbed wire. The official inventor of this groundbreaking look is Athena Paginton, a British makeup artist, who posted a picture of barbed wire styled brows on her Instagram, which inspired other makeup artists to embrace the trend. Barbed wire brows are coming hot on the heels of another eyebrow trend feather eyebrows. The feathered eyebrow consisted of eyebrows parted down the middle (horizontally) and gelled outwards to look like a feather. While these eyebrow trends might not be here long-term, they are indicative of the fun, experimental attitude of many makeup artists which is influencing the direction of the beauty industry.

BEAT THE STRESS WITH DERMALOGICA

The experts at Dermalogica have released a new product to help beat stress-related eye ageing. The Stress Positive Eye Lift refreshes the eye area, cooling and reducing puffiness of the under-eye. Stress Positive Eye Lift contains wild indigo seed which minimises under-eye circles, sea water extract and arctic algae which de-puffs puffy eyes. Fermented yeast and hyaluronic acid have a lifting effect on the eye, while bioactive diglucosyl gallic acid revitalises the entire eye area. There is a particular set of instructions pertaining how to apply and massage the formula into the eye area, although the Stress Positive Eye Lift can be used on top of makeup for an instant boost.

SID & JAC Sid & Jac was started by two sisters, Jacqueline and Tanya who have been inseparable wanderers from the earliest age. They spent their childhood laughing, playing in the streets and creating craft from nature.

“We would create perfume from dried flowers, build rafts in our pool during winter and turn ordinary swings into giant ones using makeshift sticks, ensuring everyone could swing with us,” explained Jacqueline Smith. It was through this constant inventing and experience collecting that they found true happiness and joy. But with age comes great responsibility; something they discovered the hard way. “That feeling of freedom and copious laughter was quickly swapped out for anxiety, tension and the general stresses of being an ‘adult’. Soon enough, those negative feelings manifested in our relationships – with men, women and mostly each other.”

One sister, an international athlete, was constantly searching for ways to heal her body and mind under

extreme pressure to perform. The other sister suffered terribly from anxiety which was often debilitating.

Coming to terms with their struggles, they decided to search for healing inspiration and decided to look no further than the women who had managed to uphold the joy from their childhoods right through to adulthood; their grandmothers. Their solution for staying grounded was unanimous, ‘just look to nature.’

“They told us that Mother Earth has so many powerful resources that we aren’t using effectively today, and that we need to look to our beautiful land to find the answer to our problems,” said Jacqueline.

So, with this inspiration, they created a product that they hope, through nature, will help you get back to your happy place like it did theirs. The base product to their range is the ‘miracle mineral’ magnesium which is essential for relaxation, recovery and overall wellness and is particularly good for sports recovery. Vital for over 300 biochemical reactions in the body; Sid & Jac’s magnesium is sourced from the earth and is naturally occurring.

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PERMANENT DENIM COLLECTION FROM ACNE STUDIOS

Perpetual conveyors of Scandinavian-cool styles, Acne Studios have announced they are reconfiguring their denim line. Their new denim line, named Acne Studios Blå Konst, is a permanent collection, with three styles of jeans for both men and women. Additionally, there will be seasonal collections released which will work in parallel to the Acne Studios main collection. The first Blå Konst has a very androgynous style of design and the campaign photography reflects this. The Blå Konst Ready-To-Wear seasonal collection features boxy-cut, utilitarian looking garments while the seasonal accessories are brightly coloured with clashing prints.

GABBANA. DOLCE & GABBANA.

MUYTJENS LEAVING J.CREW MENSWEAR

The news that Jenna Lyons is leaving J.Crew was only the start of a slew of changes at the company.

Following that announcement, it has now been made public that 150 full time jobs and 100 more casual positions would be cut. These cuts include Frank Muytjens, J.Crew’s head of menswear design.

Subsequent to Muytjens and Lyon’s departures, Somsack Sikhounmuong, the womenswear head designer, will become the chief design officer and will control the creative direction of womenswear, kidswear and menswear. These changes are part of a ‘streamlining’ corporate restructuring in order to cut costs to cover the $10billion of debt which J.Crew has accrued. Muytjens has not yet announced his next move.

REGARDEZ LES FRANÇAISES!

French menswear brand, 13 Bonaparte, are going state-side.

The move is the result market research which identified Americans as the second largest demographic group within their consumer base. Their entry into the American market has been to open a pop-up shop on the Lower East Side. The brand have also launched a capsule collection - Le Denim - featuring womenswear and unisex denim pieces which is available through their popup store. Their minimalist designs have a retro vibe, and they often offer pieces in a variety of different colours and washes.

13 Bonaparte are expected to open a permanent store in Los Angeles after closing their New York pop-up.

@beachknickers

8 I May 2017

@holychicstudio

FEAR OF GOD POP UP IN ITALY

Jerry Lorenzo has injected a retro-sportswear vibe into his latest collection for label Fear Of God. The collection is titled ‘1987’, and pay hommage to Lorenzo’s favourite basketball team, the Boston Celtics. The Los Angeles brand is opening a slew of pop-up shops to celebrate the release of the collection, starting with a store in Bologna, Italy. Lorenzo has previously used pop-up shops to launch new collections. The pop-up’s location is just two hours from Civitanova, where the hightops sold in the collection were made. The collection features zip up jackets, drop crotch shorts, trackpants, athletic socks, t-shirts and sneakers. The vibrant emerald green of the Boston Celtics is paired with white, grey and black accents, and the Celtic’s shamrock logo is used as an embellishment on nearly every item. The pop-up store was decorated with Celtics memorabilia, including flags, photographs and figurines.

Dolce & Gabbana’s 2018 Alta Sartoria - the haute couture menswear which is one-off tailored to exactly fit the customer’s measurements - was inspired by James Bond. The men’s version of Alta Moda was launched by Dolce & Gabbana in 2015, to cater to wealthy male clients who want the same exclusive couture as their female counterparts. The 2018 show took place at Castel dell’Ovo in Naples, a large seaside castle. Alta Sartoria has joined the Alta Moda and Alta Gioielleria (couture jewellery) collections as part of their three day couture presentation and party. The James Bond inspired collection featured sequined tuxedos, three pieced suits with topstitching, and a scuba suit worn with a bow-tie. There were also Mediterraneaninspired short swim trunks, flowing robes, and silk with vibrant prints.

CHILL LIKE BILL

Bill Murray has released an ‘irreverent’ line of golfwear (his word, not ours). The line is a collaboration with his five brothers, all of whom play golf. The collection features polos and shorts in traditional colours, as well as vibrant prints, which are made from moisture-wicking fabric in traditional golf-appropriate styles.

The label is named William Murray Golf, and has a logo which shows a man throwing a golf club. The line aims to combat the exclusiveness and toned down look favoured by golfing professionals, and inject some humour and fun into the sport. With his first collection nearly fully sold out, the line looks to be a popular addition to the golfwear scene. Murray is a prominent fixture on the pro-am tour, and a well-known celebrity golfer.

@kowtowclothing

@pennysage

@rubytakessanps

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Vlad Tichen MENSWEAR STYLIST

BROGUES

You don’t have to be a noble gentleman nowadays. At least don’t be one of those “I-beg-your-pardon-milady” type of guys. In fact, if you feel the urge to talk to a girl like this, I will stop you right there, because it’s a very bad idea. Just chill, homie. She doesn’t even know what you mean, you know. And you might get a slap on the face for that “milady” nonsense.

Contemporary gentlemen don’t walk around talking like this. Instead, contemporary gentlemen just wear brogues. That’s right; I’m talking about those wingtip detailed shoes with perforated ornament. Okay,

someone might say: “Oh no, not THOSE shoes! My grandpa used to wear them!” To this I respond, “Wow! Your grandpa was a really cool dude!” And I don’t make that statement lightly. Your grandfather definitely knew how to look dapper, and he would tell you the truth about the origins of this beautiful shoe.

The story is that hundreds of years ago, people living in Ireland and Scotland loved walking around from one bog to another - primarily, due to the lack of other entertainments. So they would walk, and walk, and walk. And then they’d be like: “Goddammit! Not a bog again! Damn Brits!” Naturally, they’d get their feet wet.

Long story short, some great minds came up with the idea of having small holes all along the shoe to let water drain easily from it. That’s how we get the beautiful perforation on our brogues nowadays.

The brogue as we know it became popular in the early twentieth century and was considered an outdoor, country walking shoe not suitable for formal occasions.

However, over time this has changed. Nowadays we can wear brogues in all sorts of situations. It might be a business meeting or a casual stroll in the park. Truly, it is an essential shoe style, along with oxfords, derbies, and chelsea boots. There is a lot of different variations of brogues, so rest assured, you’ll be able to find your perfect pair, especially if you are dealing with a reputable retailer. If you’re one of those retailers, well, then it’s time for you to decide what style of clothing in your store you would like this shoe to cover. Is it a formal department?

Smart casual? Or maybe it’s streetwear? Keep in mind that the range might be quite wide.

In order to create the most appropriate look for your store, you might want to play with different designs. wingtip, longwing, half brogues, quarter brogues – this seems like a lot to take in but make your pick carefully because the particular style choice might change the the

Photography by Max Lemesh (maxlemesh.com)

whole look completely.

For example, some of the formal styles, such as quarter brogues, are best worn with both single and double-breasted suits of solid colours, or a subtle pinstripe. As for the casual style like the Wingtip brogue, if it goes together with a chunky sole, metal eyelets, and thicker laces, it is considered more appropriate for jeans, chinos, T-shirts, and unstructured jackets.

Choosing the right type of leather is just as important. If you’re trying to bring the level of dressiness down, suede is always a good option. If you want to keep it classy, you can’t go wrong with smooth leather. My personal favourite would be a pair made out of pebble leather.

Now, colour. For a more formal look, black would be the obvious choice. With that said, the brogue is still less formal than, say, your regular oxford. So it might be a good idea to go with chocolate-brown or even tan, but if you feel that your customer would be interested in something special, there’s always an option of choosing a spectator brogue. This style combines two contrasting colours, with one usually darker than another and is more of a statement than an ordinary shoe.

So make your choice wisely, for you have no right to be wrong!

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AQUAZZURA X JOHANNA ORITZ Shoemakers Aquazzura have collaborated with fellow Colombian designer Johanna Oritz to create a beautiful, new capsule shoe collection. The brands have partnered with Net-A-Porter, who is the exclusive retailer of the collection. There are two styles of sandal, flats and heels, which are both similar to shapes Aquazzura have created before.

The sandals feature a sophisticated summer palette, with white leather, black soles and mustard and navy tassels.

SANDALS THAT SUIT ANY OUTFIT

Lingerie label Eres have collaborated with new, French sandal brand, NupiĂŠ, to create a sandal which can be changed to suit any outfit. The sandals are available with a variety of different ribbons which are easily interchangeable. They are being marketed as the perfect sandals to take on holiday, as the ribbons mean that it is easy to match the sandals to a variety of outfits and change the look based on your mood. The sole is minimalist, made from leather, and has three small loops through which the ribbons are threaded.

SIMPLIFYING SOCKS AND SHOES New Acne Studios and Puma Men’s footwear are available at Workshop stores throughout New Zealand. The Puma B.O.G. Limitless Hi Evoknit combines shoes and socks, into one light and comfortable shoe, with a breathable upper and stretchy collar to ensure an easy fit. The shoes have rope laces and are made for streetwear and sports, and are available in two colourways - khaki and black.

YOUNG DESIGNERS FASHION SHOW 2017 PART OF NEW ZEALAND FASHION WEEK

Register your design

by July 10 for your chance to take part in NZ Fashion Week DESIGN CATEGORIES Fantasy Characters, High Fashion, Streetwear, Sustainability, Open Design

Y1934

WWW.RAISEUP.CO.NZ/WTL for information and registration

10 I May 2017

LIMITED EDITION PONYHAIR SNEAKERS

Los Angeles sneaker makers, No.One, are pushing the boat out with luxury sneakers. Their Bravo sneaker is made from Italian pony hair, meaning every sneaker is slightly different due to the different look of the fur, and pattern placement. Their Venice Beach facility is the manufacturing location for their precisely crafted handmade sneakers, and can only process 14-17 sneakers at a time, meaning the Bravo sneakers will be very limited in supply. Only 26 pairs will be released, each with a different letter of the alphabet on it. The Bravo sneakers retail around USD700 each, and for people who miss out, No.One creates totally customised sneakers so customers can still get a unique, handmade sneaker.

AMAZON’S NEW STYLE ADVICE

Online retailer Amazon have released new hardware to help push their fashion products. The Echo Look is a voice controlled camera which takes full length photographs so users can see their outfits.

The camera also has a depth sensor, which means that the background of the picture can be automatically blurred making the person the focus of the picture - ideal for users who like to share their style on social media. The camera also takes videos which stream automatically to the Echo Look app, so users can see themselves from all angles easily. Additionally, in the Echo Look app is Amazon’s new Style Check capabilities, which allow the user to upload two pictures taken by the Echo Look camera and gives feedback based on the style’s popularity and flattering quality of the outfit. The app also uses this to recommend new styles to customers, available through Amazon’s website.

FARFETCH STORE OF THE FUTURE NOT SO FARFETCHED Online leader FarFetch are going full steam ahead where e-commerce innovation is concerned. The site, owned

by José Neves, has gone from strength to strength recently, first announcing Natalie Massanet as their non-executive co-chairwoman, and then outperforming Yoox Net-a-Porter as the top high fashion online store.

Neves has now announced that their new concept ‘Store of the Future’ is in beta phase, and will start testing later in 2017. The Store of the Future concept aims to introduce more technology and automation into the bricks and mortar retail environment, which will better enable consumers to connect online and offline shopping experiences, as well as reducing the amount of inventory control work done by salespeople.

The Store of the Future will automatically connect physical items browsed by the customer to their online wishlist, as well as automatically showing customer details and previous

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purchases to sales people. This increase of technology will allow salespeople to become more of a style influencer than an aide to the technological aspects of maintaining a physical retail store.

Neves calls it ‘augmented retail’ and says the experience would be supported by Farfetch’s technology, although individual brands would be able to create vastly different experiences in each store via the technology.

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Additionally, brands will be able to integrate Farfetch’s data into their own apps, giving customers a unique online experience.

Despite the difficulties faced by many bricks and mortar stores, and increase of e-commerce, Neves is adamant that the future of fashion retail requires both physical and online stores, as fashion is a physical, tangible good which cannot be downloaded like a song or movie.

@asset_factory

——— w: www.assetfactory.co.nz p: (09) 377 3559 e: info@assetfactory.co.nz

apparelmagazine.co.nz

I 11

IF YOU’VE GOT THE WRONG IMAGERY, YOU’RE LOSING SALES

By Andy Mackie, MD of LookDepot and Asset Factory

In this world of omni-channel retail, consumers want to see one view of your brand – whether they engage through bricks and mortar, through a website or by viewing your social media, they want the same positive experience and a consistent message.

But the days where we could get away with sharing the same imagery across all channels are long gone. Yes, the tone and branding should be consistent, but the images should differ. Your look book user, your Instagram viewer, your website browser and your in-store shopper viewing your point-of-sales as they wander your store – they’re all looking for different things when it comes to your imagery. If you’re not nailing this, you’re almost certainly losing sales.

For most New Zealand retailers, online plays second fiddle to bricks and mortar because the marketing dollar goes to the predominant revenue streams. However, whether your online store is a transactional cash king or otherwise, it still very much plays a heavy role in generating demand.

Many shoppers use a store’s website to check out available stock before they head in to purchase; or they browse multiple websites when looking for a specific item ie women’s leather jackets, before heading into the store to try on and buy.

I often see ecommerce websites not working as hard as they should to provide customers – and potential

12 I May 2017

customers – with the information they need to either buy or complete their research mission in order to either purchase later or visit one of your stores.

What mistakes do I see? There are the basics, such as not having a clear value proposition, good product information, clear navigation and an easy-to-use check out system. And then there’s the imagery issues.

Here’s the top 5 website imagery mistakes I see: 1. Imagery needs to be of high quality. When you’re selling products that are mostly dependent on how they look, it makes sense that you should be doing all you can to show them in their best light. Always use equipment fit for purpose and be thoughtful with your lighting. If your site provides roll-over functionality (which it should) make sure your imagery is high res enough to showcase the detail the customer is looking for, such as a closer look at the zip, say.

2. Images should have a consistent look throughout your site. This is a big issue for resellers that just use imagery supplied by their wholesaler – it makes for a very confused look that doesn’t in any way give a cohesive look to your brand/store.

If you want to shoot a few things as clear cut images against a grey background, try to do that for everything that season or you risk your site looking like a mash-up of styles.

3. Just one shot of each of your garments is not

enough if you are a fashion retailer. Best practice for ecommerce now is to have at least 3 shots per garment: one of the front, one of the back, one side on, and support these with product shots possibly a detailed shot if the fabric is particularly beautiful or there’s a striking neckline or detail.

In the absence of being able to try on and feel clothing, customers expect to see multiple views of garments and other items.

4. Show the items in context and you’ll win sales faster. Extra points if you can include a shot of the garment worn by a model so you can see it on and how it wears; top of the class if you include a short video of the garment and model in motion.

These last two go a long way to creating desire and the “I want that look” attitude that will have them clicking “Buy now”. Make sure you use models that make sense to your brand and your customers.

5. Don’t forget to upsize. Thumbnail-sized photos aren’t enough to capture attention and imagination – make your imagery big and brave to get real buy-in from potential customers.

ANDY MACKIE is MD of LookDepot and Asset Factory, businesses specialised in helping SMEs and large retailers and wholesalers with their website and social media imagery needs. www.lookdepot.com; www.assetfactory.co.nz

TOUS

Rosa Tous first joined the family business in the 90’s when the brand began its international expansion. Her original position was to look after marketing and communications.

TOUS was founded in 1920, but the firm took off in the 1960’s under the leadership of her parents Rosa Oriol and Salvador Tous. The focus on innovative design concepts made the brand stand out from traditional fine jewellery. TOUS has since become a lifestyle jewellery brand with a leading position in the affordable luxury segment with its lines of handbags, perfumes, watches, glasses, and other accessories.

The name TOUS came from their hardworking family who had a dream. “We have worked with passion to achieve what TOUS is today, an affordable luxury jewellery brand and accessories recognised worldwide,” she said. The brand has a presence in five continents with more than 500 stores. Together with a committed and dedicated team, they remain faithful to the values of their trade as jewellers since 1920.

A gemologist by profession, Tous recalls her mother creating jewellery for her clients with precious gemstones. “She thought about how each jewel could

ROSA TOUS, Corporate Vice Chairwoman of TOUS

complete the look for her clients, it’s a really important exercise,” she added. “We have been involved with the jewelry since we were little girls; my first job was as a shop assistant in our store in Manresa.” Tous studied in the Gemological Institute of America in Los Angeles and is still a member of the JORGC (the official association for Jewellers, Goldsmiths, and Gemologists of Catalonia). After studying, Tous joined her family and worked between the Manresa store and the Lleida store. In these stores Tous worked in front of the counter and helped in the design and purchase of the gemstones. Later on, she was in charge of the training department and then managing the marketing and communications of TOUS. Now Tous is the corporate vice chairwoman of the company where her main function is to look after the TOUS brand and image.

She also represents the TOUS family and company as a spokesperson at institutional and brand events.

The brand’s headquarters can be found in Manresa, Barcelona, where they have a factory for the production of jewellery and leather goods. This optimises the development process of the collections, with a logistics centre for jewellery and accessories. 500 professionals work on the premises and are part of the over 3,500 employees worldwide.

TOUS presents around 30 collections of jewellery and 50 of accessories per annum. Tous added that this meant the creative team is constantly working hard.

“My sister, Marta Tous, as R&D Director, with all her team, works in the elaboration of the collections with the innovative spirit that characterises us. On the other hand, my mother has returned to her origins: designing unique pieces, playing and creating precious jewelry for Atelier TOUS.” Tous believes the jewellery industry is slowly but surely evolving, but the brand tries to bring new technological innovation to their industry. TOUS combines traditional craftsmanship with state of the art technology. “It is a combination that allows us to create new designs, more efficient production processes, and a better product for our clients without detracting from our craft or the

We have worked with passion to achieve what TOUS is today, an affordable luxury jewellery brand and accessories recognised worldwide. excellence and the respect that goes along with it.”

E-commerce has been of huge important to the brand as a result of the digital transformation of society.

She explained that you have to consider that consumer habits have changed, particularly in the case of new consumers who are fully digitalised in the market.

TOUS operates in over 50 countries with retail and 12 in e-commerce. “Internationalisation and e-commerce arise from our retail strategy, taking into account the current omni-channel commerce.” TOUS is continuing to expand internationally with 50 stores opening during 2016 and new entries into Czech Republic and Qatar. “China, a key growth market for the brand, is developing as planned and reached 15 stores at the end of the year, with two new flagship sites in the city of Shanghai planned to open during the first quarter of 2017,” Tous explained. “We need to be where our consumer is.” Gwyneth Paltrow will be TOUS’ brand ambassador for two more years. “Gwyneth Paltrow has many qualities that we consider very close to the brand,” she said. “She is a person who fits perfectly with the values of our brand: tender, fun and young spirit.”

Tous’ mother, Rosa Oriol, is her biggest inspiration.

“She’s the woman I admire the most. She is my mentor; she is elegant and persevering. She is the feminity in person. She is the kind of woman who defines the word ‘style’.”

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I 13

SERENDIPITY AVENUE

Nami Hampe and Pascale Baker fell into their blog, Serendipity Ave, through a love of fashion, styling, and creating. Hampe grew up in Germany and Japan, but moved to New Zealand on her own nine years ago.

Hampe studied a bachelor in business and marketing.

Baker, on the other hand, was born in Australia and moved to New Zealand when she was younger. Baker studied a diploma in fashion design and business, and her second diploma in social media marketing.

Growing up between Asia and Europe, Hampe explained that this made her very aware of different trends from a young age. “I remember wearing the latest fashion that I picked up from Tokyo to school in Germany and people just looked at me as if I was mad!

I always loved that fashion has no rules and it really is a way of expressing yourself without having to speak.”

She was a tomboy at heart when she was younger and went to a sport school where she was one of the only girls. In the beginning, she never really had an interest

THE KNITTER When Nicole Leybourne was 19 years old she discovered what it was like to be alone in a foreign city and how eye-opening it was. Since then, she has spent most of her adult life flitting from city to city, making her home in lots of different places from Perth to Tokyo to Shanghai. Leybourne studied Creative

14 I May 2017

in fashion, but always knew if it felt good it will look good and to this day Hampe still believes this.

Baker’s mother made almost all of her clothing and has always encouraged Baker to be involved in fashion.

“Whether it’s making my own clothes or experimenting with fashion trends and shapes,” said Baker. She said it all started with going through all of the Barbie outfits at Big W and not finding the right outfit. Baker learned how to make them on the sewing machine at home with material scraps in bold colours.

The duo is inspired by what is happening overseas in the industry as well as street style, but ultimately their mothers are their biggest inspiration.

Serendipity Ave was born over a wine and an Instagram account. The online retailer started as a blog and grew when readers asked where they could buy the garments the two wore in the posts. “At that time, we felt there was always a thousand options online for say a LBD but we found that girls just wanted that one option you showed them. Where they could see what it looked like on normal sized New Zealand girls just like they are. That’s when we thought ‘let’s do it’ and we registered our domain name and next minute we were ordering stock! We have never looked back,” explained Hampe.

Writing and Natural Medicine at university. “When I’m not knitting, I’m either writing, being silly with my sister, or thinking about knitting,” she said. Leybourne had always been the creative type from the beginning and always needed an outlet, someplace where she was unrestricted to create what she wanted. “To me, it’s second nature to want to create. I guess I haven’t really thought too much about it in all honesty,” Leybourne added.

For her brand, Leybourne currently does everything herself from design to making the first samples, but is looking for more hand knitters to work with. “I think I would say I prefer to make rather than to design.

Although, maybe I enjoy both.”

Leybourne designs every piece, but if she gets stuck in a rut with making and creating, she stops to do some of the business side of things. She added that it’s nice to have a balance. Leybourne said ideally she wants to be making something sustainable, and that creating a brand based on sound morals is very important to her. “Not harming the planet, or the animals used in producing my yarns is something I really value. Also, knowing that I am producing ‘slow’ garments, that aren’t made in overcrowded factories in developing nations, makes me feel pretty happy too.”

The Knitter started just over a year ago because

The brand started with stocking up and coming brands and has always held very limited quantities.

They never intended on doing it that way, but as a small business it made sense. “Looking back, it was the best decision we’ve made,” said Baker. “We wanted to be different to other NZ boutiques by not stocking brands that are already heavily saturated in the NZ market. For example, our first brand we got on board was Interval in which some pieces we have are exclusive to us in New Zealand.”

The online store is five months old and Baker and Hampe manage everything from marketing to ordering to wrapping and shipping. “Having limited quantities allows us to give our customers a personal experience and leaving them feeling like they are investing into their wardrobe and not just shopping trends,” Hampe added. With the roots of their brand buried in social media, they rely heavily on it for sales. “We find nowadays that is how our customers are primarily communicating and keeping up to date with what is new. We also love to host regular pop-up shops for those who just want to feel and try on the pieces.”

Hampe and Baker want to make Serendipity Ave a supportive movement where women support each other and they have started this with their Girlboss section on their website where they interview fellow women in business. “We want to create a wave of positive endorsement and truly believe that there is enough room for everyone to make it in business.”

Moving forward, the duo is looking to make a few pieces under their own brand name but it is still early days.

Leybourne was fed up with what she was doing and after buying a yellow knitted jumper, she decided to make one herself. “I spent a million and one hours on YouTube teaching myself the basics, and perfecting the art along the way. I’ve always been quite entrepreneurial, so I decided to sell what I was making, and things kind of developed from there.”

Inspired by wool, Leybourne explained that seeing, choosing and feeling all of the textures and colours makes her excited. “Thinking about all the possibilities that these ravelled up balls of colour could possibly turn into, is what inspires me the most,” she added. “Maybe one day I will make the world a little woolly empire and have my own back garden full of happy sheep and alpacas.”

Already stocked in boutiques across the country, The Knitter can also be found in Australia as well as cities further abroad. Leybourne is currently in the midst of fulfilling retail orders and maintaining her orders online at www.theknitter.co. Leybourne is excited for the next few weeks ahead with some new stockists coming on board and receiving international attention for her knits which took her completely by surprise.

“I just want to keep creating colourful, fluffy things and to do so while continuing to make a living for myself. That’s the dream.”

AIMEE-CHERIE INTIMATES Born and raised in Australia, Aimee-Cherie Kendall spend most of her childhood in a seaside country town called Geraldton. She moved with her family to Perth when she started high school and then went on to study fashion design and textiles at TAFE. After exploring an array of different work experience opportunities, she was never 100 percent sure with what she wanted to do within the fashion industry, but knew she wanted some part of it. “I remember practising my ‘fashion illustrations’ by copying Beyoncé’s costumes from Destinys Child as a child. I was always the girl in my group of friends, wanting to dress the other girls up and put on dance concerts or fashion shows for our parents,” Kendall explained.

The first thing she ever made was her Year 12 ball dress which was a dusty pink matte silk satin gown with a delicately beaded sash. “I’d only learnt to sew about a year before that in a class at high school. My grandmother and her sister were immaculate seamstresses when they were younger but it unfortunately wasn’t something that was passed on to me until much later in life,” she added. Most of Kendall’s

training is from her time at TAFE, where her course was highly technical and hands on.

Kendall added that there were wonderful lecturers who were highly experienced from their time in the industry and had a wealth of practical knowledge to share. “Some of those skills have been the most valuable that I’ve needed to this day.”

She prefers to design, but only because the brand currently makes every single piece themselves. Kendall adds that it is a very labour intensive job and doesn’t leave much time for things she loves like the design and business development side. “We’re currently in the process of handing over our production to an Australian manufacturer so it’s very exciting time of change and growth.”

Ethical and sustainable products are important to the team at Aimee-Cherie Intimates. Especially ones that are produced in a way that helps their local industry survive.

“There’s nothing wrong with a product being Australian made, but it’s really sad to see a local industry really suffer from it. There are so many

young students wanting to get into this industry and that are so keen to learn and contribute, so why aren’t we giving more back to our local industry rather than the ones overseas?”

The main team is made of Kendall and her studio manager Sharon most of the week, but have other smaller sectors that contribute to what they do. This includes another seamstress, photographer, hair and makeup team, accountant, and so on. “At the moment, I oversee all roles and wear a lot of different hats from day to day. Each day is completely different whether it’s a full day at the sewing machine, or on our studio sofas doing emails on my laptop.” Aimee-Cherie Intimates is three years old and started by accident with some bralettes from her graduate collection that she put on Facebook. Now the brand is looking to take on more stockists and open a few pop-ups around Australia. The label is currently available online at www.aimeecherieintimates.com and through a handful of selected Australian and international boutiques.

Kendall’s dream for the brand is to be recognised as one of the few that took the brave and difficult step to staying truly 100 percent Australian made at a luxury level. One day she hopes to be a company that supports many other people’s dreams and careers and that they are big enough to help shape the industry.

DAY BY DAY

Brittany Day went to boarding school at Rangi Ruru Girls School in Christchurch and then studied a Bachelor of Fashion Design at AUT in Auckland. Day is now living in Sydney and said her interest in fashion began with mother.

“She has always made wedding dresses and ball dress as a living and as a young girl I would frequently be in her sewing room with her playing with scrap material,” Day said. The first thing she ever made was a pencil case and then graduated to pillows.

Day currently makes every piece herself and said that there is something very satisfying about creating pieces from the initial design process right to sewing in the labels in a finished garment. As a one-man band, Day does everything from design to sending out each finished garment. “I am however getting extremely busy so my one gal team may need to expand,” she added. Quality garment construction and customer satisfaction are two key values for her brand. “It is such a good feeling receiving emails from customers saying how much they love their outfits.” Day said Festivals are her biggest inspiration, in particular, the people, the positivity and all of the incredible art installations and décor.

Day By Day had been in the works for over a year, but officially launched in October 2016. The next step is to pick up a few more stockists, and Day hopes to break into the northern hemisphere.

The label is already stocked in two boutiques in Melbourne, Tibbs & Bones and Frothlyf, but would love to jump across the ditch into New Zealand too. Day By Day is also available online at www.daybydaythelabel.com.

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I 15

Trench (Coat) Warfare Fashion is known for poaching aesthetic inspiration from a wide variety of sources, but throughout modern couture is there any influence which has come around as many times, in as many different variations, as the military look? There’s something about a crisply cut trench coat and a statement pocket which captures designers’ imaginations. oscillated between decades, but kept to a neutral colour palette in their Fall/Winter 2017-2018 collection.

The styling was clean and effortless, imbuing the collection with a modern look, despite the wide range of influences. The crisply cut coats and wide legged denim was styled with minimal accessories and gave way to 1970’s inspired ditsy floral dresses.

Later, the 1940’s were woven into the mix, in the form of coats with Peter Pan collars, capelets thrown back over shoulders and high waisted pants with a relaxed cut. The 2000’s made a brief appearance, with low-slung baggy jeans which distorted models’ silhouettes reminiscent of the era’s iconic skater boy figure. The military influence was felt through mainly classic trench coats, shown in navy, khaki similar to Resene Blue Smoke, and camel.

Diesel Black Gold presented a conservative show, with splashes of tailoring, jersey and suede. The result; an eminently wearable collection which featured subtle yet unique cuts, such as a highnecked leather long sleeve top, and a bohemian-print jacket with a utilitarian feel. The military influence came across through the small details; statement pockets, zips and fine knit turtlenecks in a hue similar to Resene Half Colins Wicket. Overall, the collection was cohesive, and filled with precisely designed pieces which could stand alone and blend into many wardrobes.

Punk met conceptual new-age design at Junya Watanabe Fall/Winter 2017-2018. The collection featured innovative design concepts, with garments crafted to look like spiky multi-faceted ponchos.

Capes made with contrasting patches of fabric looked simply layered onto models’ bodies.

Combined with punchy tartan and accessorised with fishnet tights, shirts and combat boots, the look was essentially Brit-Punk with touches of military influence popping in through a trench coat with patched sleeves and slouchy parkas in khaki close to Resene Paddock.

A.P.C.

16 I May 2017

An unmissable mixture of colours and motifs made up House of Holland’s Fall/Winter 2017-2018 collection. The collection had girly, retro vibes, mixed with cowboy elements and statement fur coats. Appliqué spelling ‘Daddy’ and other risqué catchphrases adorned sweaters, and set the fun, youthful tone of the collection. The palette moved from bright, bubblegum hues to camouflage colours, and then into darker metallic shades.

The military influence was made more fresh and modern with the addition of Appliqué eyes layered over the camouflage, which featured shades similar to Resene Aspiring. The use of the camouflage print also added to the youthful feel, used for on-trend pyjama style set, a fitted mini dress, cowboy boots and an oversized puffer coat. The hues also carried over into fluffy statement fur, and fringed maxidresses.

Sharon Wauchob’s vision of femininity evoked 1970’s utilitarianism, with subtle hints of glamour thrown in the mix. Wide-cut lapels, and oversized shirts were predominant, paired with delicate pleated skirts, and sheer, shimmering lace. The palette was muted, with an air of grown up romance - soft blush shades and deep maroons were broken up with slate grey, and small bursts of gold and buttercup yellow.

The military influence was mainly felt through the mannish, oversized tailoring, which made the models appear androgynous. A khaki jacket close to Resene Bitter was cut in a relaxed shape; not the traditional trench coat design. Styled with khaki leather sock boots, the look was modern yet modest, and conceptual while still wearable.

The Fall/Winter 2017-2018 collection from Kenzo was extroverted yet succinct. Brilliant red and blue ditsy floral prints, in a range of wide cut, demure garments meshed cohesively with figure hugging neon knits. Models perched on sky-high flatforms, worn over red floral tights. Voluminous silhouettes had a Victorian air, and military tones were hinted at through clean cut jumpsuits, with trench-like selfbelting details. Variations of the design were in deep purple, and a khaki tone similar to Resene Gingko.

Rick Owens Fall/Winter 2017-2018 was unapologetically conceptual, a challenge to the consumer and concept of fashion. While previous collections have approached the avant-garde but retained a basic element of wearability, Owens’ latest offering was less garment driven and more an expression of art. Models wore headgear crafted from a square metal frame attached to their head and stretched sweatshirt sleeves which sometimes appeared shaped into rabbit ears.

The clothes themselves appeared wrapped around the models, with what appeared to be sleeveless, zip-up vests hanging off model’s waists. Garments which were distinguishable were created in unusual ways, with jacket sleeves sewn in around the neck of a garment, and extra sleeves hanging out from underneath. Military inspiration was seen through the khaki palette, and thick jacketing. On-trend puffer jackets were converted into oversized capes, shrouding models in colours similar to Resene Cabbage Pont.

1930’s feminine silhouettes combined with precise military-inspired tailoring was the order of the day at Simone Rocha. The collection featured a muted palette, made up of blacks, khakis similar to Resene Bandicoot, and brown furs. Later in the collection came a vibrant red floral motif which adorned black and beige pieces, and lastly, dramatic white lace dresses. Military details included voluminous pockets, wide lapels, self-belts and double-breasted jackets.

Colours available from

Resene ColorShops www.resene.co.nz

0800 737 363

Junya Watanabe Resene Paddock

House of Holland Resene Aspiring

Sharon Wauchob Resene Bitter

Rick Owens Resene Cabbage Pont

Diesel Black Gold Resene Half Colins Wicket

A.P.C. Resene Blue Smoke

Kenzo Resene Gingko

Simone Rocha Resene Bandicoot

apparelmagazine.co.nz

I 17

Fiona Xu 62 MODELS

Always interested in the fashion industry, Fiona Xu was scouted when she was 17 while shopping at recycle boutique. Now 18-years-old, Xu says her favourite job so far has been a cover shoot for Viva, but she has also been featured in the pages of Me Magazine and Canvas. Xu has a younger sister, and both of her parents are engineers, but her mother

has always loved photography and does the odd shoot here and there. Her grandmother was her biggest inspiration growing up as she is such a kindhearted woman and the two are still very close.

Originally, Xu wanted to become a model because she has loves anything to do with fashion.

“I model today because I absolutely love meeting and working with different people such as the photographers and other models. I think a big part of modelling for me is making new friends, and also building my confidence,” she said. Xu advises other new faces to be confident in yourself and to put yourself out there.

Xu is not currently signed with an overseas agent but said this is a huge goal of hers. She is looking to expand her portfolio with more jobs, and be able to travel and work at the same time.

“I feel like there is more diversity in the modelling industries overseas, but that’s to be expected as New Zealand is a small country. I like how a lot of huge overseas brands are using more unique models for their runway shows, campaigns and so on,” she added. This year is her first year at university, but she would love to walk in New York Fashion Week and walk in a lot of the major shows such as Alexander Wang.

MODEL: Fiona Xu from 62 Models BEAUTY: Richard Symons PHOTOGRAPHER: Caitlan Mitchell GARMENTS: Maral Salmanpour

18 I May 2017

apparelmagazine.co.nz

I 19

This month we explored a range of companies who work behind the scenes in the journey of a garment from initial concepts to final display.

Wynn Hamlyn from WYNN HAMLYN “First stages of designing for me are a general idea or feeling that I want the collection to follow.

Sometimes it’s tied to a strong inspiration, but more often with me it’s tied to an aesthetic that I can then tie more closely to a tangible thing like a muse or a film or something.

This season is inspired by the resort sensibility. It was a reaction to the issue of needing to design for both hemispheres. The feeling I wanted to convey was clothing that could be worn effortlessly at any moment.

Dresses that feel like they would be suitable with wet hair after the beach or as evening wear. The feeling of ‘anything goes’ also led me to the exploration of contrasting textures and textiles not usually paired together. My process for designing is to start with all the amazing pieces that the collection is about and then add in all the essentials like T Shirts or trousers or whatever is needed. After that it’s about refining the whole thing and taking out anything unnecessary.”

ECLIPSE TEXTILES Based in Brisbane, Eclipse Textiles was established in 1987 and is known for being a market leader in product diversity and innovation.

Top of mind for wholesaling markets for stretch fabrics with LYCRA® and Spandex fibre catering specifically for swimwear, active sports, fashion, dancewear, and intimate apparel. Eclipse Textiles is also well known for its high-quality fabrics, extensively stocked product ranges, and exceptional customer service. The company

20 I May 2017

Benny Castles from WORLD

Teresa Hodges from BLAK

“We collate our inspiration and concept drawings to build a set of ideas that can make a collection. We also work with our retail team to garner feedback on previous collections to make sure we are in touch with the customer experience and feedback. It is a collaborative process that includes the design team at the outset and with our full workroom team as we begin sampling, so we are able to develop our ideas using the full skill base of our team.

The key element that is consistently inspiring is our staff and our customers - our team and the family we have built through our years as a retailer are always showing us new ways to wear our creations and driving us to design in a new and exciting direction. Our current collection in store was inspired by historic figures who were known for their Non-Conformist attitudes people who have changed the way we think and how the world works.”

“Designing for me is like a full circle process that continues to go around, and a puzzle all in one. I start by dreaming of the season and of the feeling and story I want to tell in the collection. A muse, a book, or an image could inspire me. I do often find I come back to a strong empowered phrase, or a person I’ve created in my head and I take the look from there. Then it’s all go! I surround myself with all of my fabric picks, inspiration imagery, trims, last season’s top sellers and key feedback from our Store and Brand Managers.

I’m such a visual person that I have to see it all laid out in front of me. That way I have the full picture and instantly become inspired and start putting the pieces together. I do too many drawings, hundreds of them! Then the puzzle kicks in and I’m identifying strong pieces, key direction and the stories within the collection. I begin to piece this together by thinking about what our customers have missed in their wardrobe and where I would like to direct them.

Body shape, age and whatever events the season encompasses are all catered for during this process. The cycle continues while I eliminate and narrow down the collection and once the gaps are all filled then, the puzzle is solved!”

was acquired by Charles Parsons in 2014 and is now part of the family that has been at the forefront of the Australian textiles industry for 100 years.

Vanessa Coulta is the marketing and product development designer for Eclipse and has been directly involved in the textile industry for 15 years, 12 of which has been with Eclipse Textiles. “I have gained during this time extensive and valuable knowledge in yarn and textiles in regards to sourcing and developing unique fabrics for specific garment applications,” Coulta said. She added that Eclipse is proud to be the Australasian distributor of three of the most prestige suppliers in the European region including; Carvico, Jersey Lomellina, and Eurojersey. Their high-quality products are used across a variety of markets, some designed specifically and some that can be applied across all areas. With innovation and quality at the forefront of the brand, their stock line fabrics are the best and most well-known for swimwear, active wear, fashion, dancewear, and intimate apparel.

Eclipse Textiles has over 30 years of experience under its belt and is at the forefront of the industry due to their active commitment to technological innovation ensuring that their fabrics are offered at the absolute highest quality including a very thorough quality control procedure ensuring each batch reaches the ISO and AS standards where applicable.

They also provide an exceptional level of customer service that entails a client ownership program where each customer is allocated their own dedicated customer service representative to assist them in all aspects of ordering, product information, freight enquiries and any more additional information they may require. The product development team is continuously monitoring industry developments in the international market to

provide their customers with the latest textile trends, yarn trends, innovative print designs, and seasonal colour schemes. Advanced Recycled Vita Xtra Life LYCRA® is one of the many innovations Eclipse has to offer; this LYCRA® caters for the consumer demand of environmentally friendly fabrics. VITA is a cutting edge, sustainable techno-fabric that uses the latest yarn and knitting technologies with ECONYL® and is available in over 50 colours. Subli-Synergy is another innovation that uses double faced knitting technology to create a microfiber fabric that works in harmony with others giving users an advanced sublimation base opening a world of unlimited design capabilities. Eclipse Textiles also uses the latest holographic film technology combined with a strategically placed pattern. This Iridescent Digital comes to life under the stage lights by enhancing its high-quality, unique iridescent lustre.

By combining the latest print technology, highquality inks and exceptional service, Eclipse Textiles can supply you with your own custom print, or you can choose from their extensive library of print artwork that is free for you to use on one of their diverse range of sublimation base. “From performance yarns to luxurious fabrics, our range of stock line polyesters cater for all markets,” Coulta added. Eclipse Textiles is in production for their newest range PURA. The new collection features PURA Cotton and PURA Bamboo, and quality control is already well underway. The new materials were designed and developed to cater for the athleisure category and consumers who desire to wear a more natural garment. The PURA range targets fashion, dancewear, and activewear as the new fabrics will be a step above the rest regarding quality, innovation, and on-trend colours.

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I 21

PATTERN POTENTIALS

Passion is what makes Pattern Potentials tick and is what drives their daily commitment and enthusiasm. “What other trade could be this varied, interesting and exciting Monday to Friday 8am to 5pm?” asks Sue Bailey, owner and manager of Pattern Potentials.

Bailey explained that it’s all about working as a team and planning the process to run as smoothly as possible for all involved in the production line. All the way through to achieving a great garment as an end result and then seeing that garment in the latest fashion magazine, in a shop window display or on someone walking down the street.

“We like to understand the designer’s concept so that we can be sure to set up a sample pattern for their customer’s needs; the fit, the look, the garment purpose and so on.

We take into consideration the fabric being used and the construction of the garment for ease of manufacture and cost,” said Bailey.

The team has a wealth of knowledge that they pool together to achieve top results. Bailey was introduced to the trade when there were many amazing big manufacturing plants throughout the country with the designer, pattern

maker, cutter, sewers, finishes and dispatch all under one roof. “A fantastic learning experience that I can share and put back into my business today.”

The girls that work with Bailey have trained at nearby institutes and are naturals in the pattern room with manual and CAD pattern making experience. Bailey added that the team also do dress making out of work so they have that constant construction and fitting practise. “Pattern making is a feel, it is a natural ability, you know what shapes need to look like, and you know what shapes should fit like.”

CAD is an extremely useful tool and allows Pattern Potentials to work with customers all over the world.

The team uses CAD to make alterations to existing patterns and to build off existing blocks to create new styles quickly and effectively. Grading in particular is fast and accurate.

The pattern information copy/

pastes straight through to Excel for specification sheets and to marker making so the best efficiency of cloth can be used. “The apparel trade is a passion and it consumes the attention of many talented people whether it is for their creative or technical abilities.

We look forward to another busy year supporting great New Zealand designers and manufacturers in the apparel industry. The New Zealand apparel business is still very much alive and we would like to see it stay that way.”

STITCH PERFECT

Stitch Perfect was originally established in 1980 as a knitting specialist maker, located in close proximity of Designer Textiles making knit fabrics in New Zealand. Its offering has since evolved to handle beautiful soft and heavy woven fabrics also.

Fraser Wood, business developer and director of Stitch Perfect, has worked in many areas of the apparel industry.

He worked in fit modelling, retail, global fashion fabric wholesaling, and selling merino into the North American markets. When he saw a chance to work for himself he seized it, and moved into selling a quality service to those to whom he had previously sold fabric.

Quick and clear communication is central to the Stitch Perfect process.

“When a designer approaches us we lay out how our process works so that they are informed about what we need from them,” said Wood. “This allows us

to deliver the best and fastest possible result for them.”

When approached, Stitch Perfect request that the designer supply a pattern, fabric and a reference sample if possible. They also ask for any defined sewing specifications such as seam allowances, type of stitching, binding width or location of labels. A sample is made in collaboration with the designer, and from here a production price can be quoted accurately.

Stitch Perfect will also recommend to the designer any ways that production costs can be saved and time reduced through pattern alterations and such.

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22 I May 2017

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If the sample is not exactly what the customer had in mind, Stitch Perfect will alter the specs for another sample.

When the sample has been approved, bulk quantities arrive from cutters along with trims supplied from the designers to fulfil their orders. Once a first off is approved the entire order can be completed.

Stitch Perfect’s main customers are high end women’s fashion brands who emphasize quality of fabric and make in their products. “That being said we are a clever and adaptable company with a flexible and skilful workforce who can turn our manufacturing abilities to all manner of products,” said Wood. For Wood and Stitch Perfect, the role of the pattern maker cannot be overstated, seen as crucial in the development

and journey of a garment and the foundation upon which the garment is built. “They perform the engineer’s role in the creation of clothing,” said Wood. “Without them, the realisation of a designer’s concept to accurate completion would be like an architect telling a builder to make a house blindfolded.”

While Stitch Perfect hasn’t engaged with social media, they have recently launched a new website, and Wood is amazed at the impact this has had on their business. “It allows the new generation of designers to contact us in their launch phase that we possibly wouldn’t have targeted otherwise,” he explained. “It’s extremely satisfying to work with young designers and see them grow from season to season.”

IDENTITY SOLUTIONS

Started in 1993 by Simon Wall and has been providing branding and sourcing solutions to the New Zealand apparel industry ever since. The company supplies woven and printed brand care labelling, embossed and embroidered badges, trims and accessories.

They also supply all types of printed media from tapes, swing tickets, brochures and packaging. As part of

their label service, Identity Solutions provide an in-house care label and barcode printing solutions as well as

offering a bureau service.

In 2000, Identity Solutions introduced the Niche Apparel Management and RMS Point of Sale software into New Zealand. More recently, the company has also started a wholesale sublimation clothing, procurement and stock service to the market.

Identity Solutions has three core principles – to succeed in helping customers maintain their brand image at a high level with sustainability, a commitment to creating and providing quality labels and innovation to their customers’ branding to improve their brand recognition, and to have a team which is always honest, creative, responsive and service-minded towards their customers’ needs.

Over the years their clients have included Trelise Cooper, Ruby, Moochi, Karen Walker, Fisher & Paykel Healthcare and Deane Apparel.

Quality breeds loyalty, and a number of customers have been with Identity Solutions since the company’s inception.

While there will always be the temptation for clients to go offshore to source cheaper labels, in doing so they run the risk of finding that the quality and delivery of the labels may not be up to their expectations, resulting in both wasted time and money.

“Labels are often the only and definitely the main branding medium in or on the garment,” explained Wall,

“so it’s very important that you get it correct. Also the constituency of labelling is often compromised when sourcing garments from different factories, so our service helps to eliminate this.”

Identity Solutions has a dedicated team, with a combined near-century of experience in the apparel industry and their factories are the best in the industry ensuring the creation of high quality branding. A label is a restricted medium, so the team helps the client select the right design.

The client is guided through colour choices, label size and what else will go on the label besides logo and brand name. Once the design has been decided upon, the company provides a physical sample for the designer to approve. “We not only deliver what we promise, we guarantee quality high density labels delivered on time and provide full product support and service with a smile!”

While Wall acknowledges that an online presence, particularly on Facebook, has put them in contact with clients that they would have previously not encountered, he also believes in simply doing a great job. “The key is satisfied customers and associated companies. No one has a problem recommending our services when they know that we will deliver the best possible branding solution.”

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I 23

INTERNATIONAL FASHION GROUP Established in 2003, International Fashion Group’s (IFG) aim is to bring the best international fashion brands to the Australian and New Zealand consumer.

The IFG wholesale portfolio is filled with premium fashion labels such as AG Adriano Goldschmied, PAIGE, IRO, Grey Jason Wu, Johnny Was, Grey State, Hemant & Nandita, Interval, and Bondi Bather. IFG’s mission is to provide the high-end fashion brands through wholesale and retail platforms to create a captivating customer experience that drives long-term loyalty.

Amanda Smith jumped into the fashion industry as a hairdresser at an award-winning hair salon in Tauranga.

Working on the creative direction for local fashion shows and events opened her eyes to the diversity of the industry and fuelled her love for fashion.

This inspired Smith to move to Sydney where she spent almost nine years working with some of Australia’s leading fashion designers in national sales and brand management roles. With the valuable knowledge and experience Smith had gained, she moved back to New Zealand in 2012 with plans to start her own agency. However, this all changed when she connected with a local distribution company which specialised in distributing premium international fashion brands across Australia and New Zealand. “This was an exciting change as I had always

24 I May 2017

worked for and focused on one brand internally, so I enjoyed the diversity of a multi-brand portfolio,” Smith explained. “After my contract had finished, the opportunity at IFG presented itself, and the timing was perfect. Establishing the NZ business and working with such amazing brands and clients has been and continues to be incredibly rewarding.”

In 2015, IFG ventured into the world of retail, opening Australia’s first IRO store in Sydney. A store in Melbourne is in the works and is planned to open mid2017. Smith also added that even more retail expansion is scheduled for the near future. IFG has a team of 34 across sales, marketing, logistics, finance and retail, two of

Amanda Smith

these employees are a small team based in Auckland. IFG uses JOOR as a sales tool which connects them to retail customers and gives them direct access to brand assets.

All communication to the retail buyer and end consumer is managed internally by IFG. The team develops a brand strategy, applies a budget and manages the activations from start to finish. This encompasses sales, marketing, promotion and merchandising. “Once the strategy is developed, we present it back to the brand parent to ensure it aligns with global strategy.”

As a predominantly wholesale business, it can be

challenging to communicate directly with the consumer.

Social media breaks down that barrier and allows IFG to talk daily to the end customer. “As a result, it influences all of our marketing initiatives and makes the marketing approach a truly global one,” Smith added. “We work closely with our brand parents to ensure the messaging aligns with the rest of the world.”

Finding new clients to represent is easy for the team at IFG as they are approached daily by brands. They also travel overseas regularly to see what is growing in the US and European markets. Smith explained that to join IFG, there are a number of factors that help them decide to take on a new brand or not. “It has to fit in with our existing portfolio or make sense to grow that portfolio in a new direction; it has to fill a gap in the market, and it has to be of high quality.”

IFG want the end consumer to have a positive experience when visiting a store that they have chosen to represent their brands, whether it’s online or bricks and mortar. “Like-minded brands, elegant visual merchandising and exceptional customer service are what we look for in a store to which we supply,” said Smith.

When they do launch a new brand, they strategically target premium stores that align with the brand. Grey Jason Wu is a good example of this. The team introduced the brand into Deval in Christchurch and conducted press showings to key media and stylists. They also held an intimate event with media, influencers and buyers to showcase the upcoming collection.

A lot of their high-end brands have unique stories to tell, so the team at IFG sends weekly communication to their stockists with brand assets that they can use digitally and on social media. “We provide brand training to floor staff to inform and excite them. We manage social media internally and conduct seasonal launches and press showings to key media.”

APPAREL LINE

Apparel Line NZ started in 2006 determined to give the industry a better service option. Before this, all of the apparel, textile, footwear, wholesalers, designers and retailers used Courier Post which Wendy Haresnape, director of Apparel Line, said were not specialised and certainly didn’t offer a hanging service.

“Courier Post ended up with the apparel sector merely because they purchased Skyroad, a company who had bought the original Apparel Line,” she explained. “Courier Post sadly then disestablished all the garment runs, removing the owner drivers who then sold off their trucks.

Everything they then moved was just chucked in with the general freight, and as a user, we constantly received complaints about damaged garments, covered in engine oil, or something equally unacceptable.” Haresnape added that they never even bothered to install any form of hanging system to handle the then thousands upon thousands of garment bags they were moving. Instead, they just

dumped them in a pile both on the floor of the vehicles and back at the new flash cargo hubs they built throughout the country.

“We tried other couriers, but none of them seemed to understand retail, and they could not control the actions of their drivers. So, we decided that since everyone else was doing such a bad job, we must be able to do a better one given that we really understood what was needed by our own service providers,” she said.

Haresnape is the director of Apparel Line but does a bit of everything. You can find her pretty much all over the business, sometimes even driving.

She has 20 years of experience in International Forwarding and 3PL warehousing specialising in apparel under her belt. Micah Wong (Apparel Line’s GM), Wayne Richardson (projects manager), and many more of their operational staff also have an international and 3PL background with a speciality in retail.

“This intertwined involvement in the retail supply chain has given us an excellent understanding of the difficulties of retail.” Haresnape added that the empathy and comprehension mean they provide a higher level of service for their clients because they understand their business and what is required.

As a one-stop shop, Apparel Line can move anything retail related from as small as a satchel or as big as a full shop fit-out. The team of around 25 works with their customers to always find an economical solution for each job. The drivers are all waged staff; this means they are not contractors getting paid per piece or looking to collect his ticket allowance. “We can ensure you get the highest possible level of service at all times.”

Traditionally, their customers have been

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wholesalers and designers with hanging garments.

However, more and more it’s the retailers themselves and often all just flatpack. With no one working on sales, the company continues to grow about 15-25 percent every year simply through word of mouth.

Apparel Line has for the last five years consistently delivered the highest service results in all areas.

As a post-paid operator, it works out in the customer’s favour as it is much better for cash flow.

Apparel Line also specialises in store-to-store transfers and reverse logistics at economical rates. The ticket issued for a job is not prepaid, so if staff lose them, they have not cost the client’s company $500.

“We find this especially good for retailers doing lots of stock movements between stores, where there can be a high turnover of staff, and courier tickets are just another piece of paper. Staff don’t realise it’s real money. So, we’ve removed that issue by only billing after the tickets are used,” Haresnape explained.

Moving forward, Apparel Line is adding more Trans-Tasman services, both flat and hanging for imported and exported garments. Where, again, the industry seems to be dominated by one party who only provides a very average level of service and are not always honest about how the goods are handled.

Apparel Line never wants to become complacent, so they continue to look at what they can do better between each season and are commited to on going development and refining further value added services.

Their mission is to be the best courier and cartage solution for retailers, wholesalers, designers and importers within the TCF area. “We deliver the most freight on time every time. We really are the best in the business.”

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I 25

SURESTYLE

Surestyle is a family owned and operated business based out of Auckland but with a nationwide reach. The business began in 1975 as a manufacturer of baby furniture, but after only a few years moved into the shop fitout industry.

In the past five years, Surestyle has added a range of retail display fixtures and visual merchandising equipment, and now deal with fashion retail stores and wholesale companies all over New Zealand, Australia and the Pacific. The Surestyle customer base is expansive, ranging from large format retail stores and bulk retailers to one-off retail stores in rural New Zealand.

26 I May 2017

Alysha Whiteman says that Surestyle prides itself on being a ‘one stop shop’ for display fixtures.

This includes “our ever growing mannequin range, clothing rack, and retail essentials such as bags and hangers,” she told Apparel. “Our main point of difference is we are able to tailor make display system and fixtures using our extensive experience in joinery, acrylic, tube and metal work to find solutions to our customer’s requirements and also make a system different from what other retailers have.”

Surestyle and their dedicated staff of 11 team members, are able to construct for clients joinery items, metal components, acrylic work, spray finishes including powdercoat and two pac lacquer paint finishes and glass showcases. “Many of our clients have used off the shelf systems with custom items to enhance their brand, which has resulted in fantastic looking stores within their budgets.”

Surestyle takes great care in finding the right suppliers to represent. Every three years they will travel to Euroshop, Europe’s main trade show for retail, to meet with current suppliers and also to find new products and suppliers for potential future ranges. These trips are essential to finding out what is new and innovative in the retail market, something upon which Surestyle prides itself.

“Our mannequin suppliers are at the leading edge of design and technology,” said Whiteman. “Our Crystal Collection, for example, is made of clear polycarbonate which is not only unbreakable but eco-friendly and recyclable.”

The world has changed significantly since 1975 – there was no internet 32 years ago, but now with information a mere click away, consumer demands

Our Crystal Collection, for example, is made of clear polycarbonate which is not only unbreakable but eco-friendly and recyclable. are changing. “The internet is such a vast resource for ideas and products, and often this is where our clients find their inspiration,” said Whiteman. “Our job is then to source the product from our vast supplier network.”

The internet also plays a big role in the way in which Surestyle introduces new brands. With the popularity of their website, the company will often introduce new products online first and market them via email to existing client before a public release.

This means that clients are able to provide feedback before Surestyle embarks on a full marketing campaign, and without this feedback the company wouldn’t be able to provide the variety of products that they do. “Our clients often drive the product selection, rather than the other way around,” explained Whiteman.

PIA

Pia Naera has a penchant for pink, a fact which is evident in her latest collection for eponymous brand PIA. The New Zealand brand just relaunched, and celebrated with an exciting new collection, ‘Glitter Bouquet’.

The new collection is packed with attention-grabbing prints, neon hues and sequins which are only a selected few of Naera’s wide range of ideas, which Naera admits she has trouble to narrow down. When developing the collection, Naera first designs the prints, then the cloth, then finally creates a design and shape around the fabric choice. The inspiration for her unique prints comes from paintings or from photographs taken by Naera. Although Glitter Bouquet is technically a summer collection, Naera designs trans-seasonally meaning PIA garments can be easily layered and dressed up or down. Thus far, the collection favourites have been the Malaia Dress, a sheer slip dress made from chiffon with embellished leaf details, and the Mali Wrap Dress, a long sleeve wrap dress in a striking pink photographic

Winter fashion is set to be cosy for consumers. Puffer jackets are trending with a vengeance, as part of the normcore aesthetic which has taken over high-street fashion, but these aren’t the ones your mum made you take on camp in 2008.

Unlike many trends, the puffer jacket trend has an enormous scope for designers and merchandisers, as there are many versions of the trend and looks which appeal to different consumer groups. Some aspects of the trend which are important are the length and cut, thickness, and colour of the jacket which work together to set the style. Key groups this trend appeals to are younger, high-street brand wearing consumers who will purchase the trend at a lower price point. Mature consumer groups who are fashion-conscious will also enjoy the comfortable nature of the trend

and will purchase at a low to mid price point. A smaller group of highfashion followers will purchase more stylistically unique variations of the trend and at a higher price point.

Varying in weight and thickness, puffer jackets can have a fuller look, an aesthetic which appeals more to younger consumers, and has more of a streetwear edge. This also appeals to the high-fashion consumer, especially if teamed with an unusual or voluminous cut. This consumer is the same as the consumer who has been wearing bomber jackets, and there is a significant overlap between the styles.

Conversely, thinly padded puffers are also on-trend, although these jackets typically have a slimmer line and more conservative, classic cut. Puffers of this kind appeal to the slightly more mature consumers who have a more conservative approach to fashion.

Padded sleeveless gilets are also ontrend with these consumers, who are

floral print. The entire design and production process takes about three months, and Naera is surrounded by a supportive team who give feedback on new garments and looks. Naera designs in stories, with several stories making up a collection, usually underscored with a print used throughout the story. While new prints are developed for every collection, Naera is not afraid of reusing classic shapes which have been customer favourites, and slipping these amongst new shapes and styles.

Glitter Bouquet has a staggered release of garments, making a new garment available for sale every day. PIA works on five seasons a year - summer, spring, autumn, winter, and high summer - all of which work on a basis of limited stock.

Naera only orders a limited amount of each garment, a buying strategy which brings an air of exclusivity to the brand. As consumers are aware of the limited nature of PIA styles, garments can sell fast. Helping the exclusive feel of the PIA brand is their distribution strategy; the brand is only available from their website, and they have no physical stockists. PIA’s social media and online presence is full of personal touches from Naera herself, such as the instagram account @piagrams, which is a joint account for PIA the label and designer Naera. Personal posts from Naera about releases of her latest garments and reposts of customers wearing their PIA garments endears the brand to its customers. The brand also frequently interacts with consumers on their Facebook page, answering customer questions, and posting lots of new updates to keep customers engaged. Glitter Boutique features beautiful brand imagery, with Naera’s designs captured against a backdrop of stunning beach and ocean vistas. Unique to the New Zealand market, and with a dedicated legion of customers, PIA is a brand which is going places (and leaving a trail of glitter).

willing to pay a higher price for more waterproof fabric, and high-quality down filling. However, for the more fashion forward consumers, a broad, dramatic cut will be more appealing. At the high-fashion end of the spectrum, puffers which go past the waist or even to the knee are popular.

Regarding palette, there is a huge variety, with lots of options for designers. Black puffer jackets are typically utilitarian, with conspicuous use of toggles and pockets, while brightly coloured puffers are more simple in terms of design. Match the colour of your puffers to the rest of your winter collection, or play with colour and let it become a statement piece.

Puffers and padded jackets have been seen on a bevvy of street style stars all through Paris Fashion Week as well as celebrity influencers and is set to be the top-selling coat style for winter.

apparelmagazine.co.nz

I 27

Phillip Von Fury AUT

As well as having an awesome name, Phillip Von Fury is just a small town boy with big dreams, who moved to the city to make something of himself. “Fashion has always given me an outlet for my creativity, first through my personal style and now through my designs.”

As far as getting into studying design, he had a few friends who were studying fashion at AUT, and he thought “that looks like hell, and I really want to put myself through it.” At AUT, he learned to trust his instincts, to back his own work, and that if you have a strong concept to anchor your work, you’ll always have somewhere to refer back to for design decisions. As for his favourite garment? “This is like asking someone to pick their favourite child, everyone knows they have one, but they aren’t supposed to say! If I had to choose, I would say my corset pants; they were fun to pattern and fit, and I think they are a really fresh take on a male silhouette,” Von Fury mused.

The story behind his collection is based on his participation in a clinical drug trial over the summer which he did to save money for the collection. “It set me down the path of thinking about hospital environments and the medicalization of homosexuality.

That led me to The Institute for Sex Research in 1920s Berlin who really pioneered a lot of queer research and activism. The Institute drew quite an interesting crowd and ended up hosting some pretty debaucherous parties in the hospital. I wanted to reimagine one of these parties happening today, and what my friends would be wearing there. The cuts and fabrics are both inspired by the clash that happens when clinical environments and lavish eveningwear collide,” Von Fury explained. He aims for his designs to have a ‘soft masculinity’ attached to them and wants to see a move away from such structured gendered codes of dressing.

Commercially, he thinks there needs to be a shift to sustainable fashion being expected rather than celebrated. “Alongside labels making sure their processes are sustainable, consumers need to focus on purchasing quality over quantity, and moving away from seasonal and trend based pieces.” The fashion industry also needs to view design creativity as a depletable resource and look at how the number of collections released each year can be made more sustainable for designers, he added. Von Fury says that the biggest shift in fashion is the opening up of menswear. “I think as males become more interested and engaged with fashion, it is allowing for more than just jeans and a t-shirt to exist in the mainstream

28 I May 2017

market. I love the wave of new menswear designers like Palomo Spain and Wales Bonner, and I’m obsessed with Young Thug’s album cover for Jeffrey,” Von Fury told Apparel Magazine.

“I’m inspired by everything that is happening around me. My tutor described my collection as ‘an antidote for anxiety’, and I think it really was a place for me to channel my feelings about what is happening globally, both socially and politically, surrounding sexuality and gender. It’s only going to become more important for artists to focus on celebrating difference as we move forward,” Von Fury affirmed. Citing Margiela as his entry to conceptual fashion Von Fury still owns the first Margiela piece he ever bought, a neoprene sleeved top from Plume. J.W Anderson is where he first tied a design aesthetic to some of his thoughts on the world and, locally, Zambesi and Jimmy D were both big influences, he said.

As far as the design process goes, for Von Fury sewing allows him to make something tangible out of his ideas, but design is what he loves. “In saying that, nothing is more rewarding than resolving an especially technical piece of patterning or construction.” Many people design clothing successfully who don’t have a technical construction skillset. “But I think really great designers need to know how things are put together so that they can really play with why something is constructed the way it is, and what other ways it could be,” Von Fury explained.

He was fortunate enough to intern at Ciel PR during his first year at AUT, and he says the best thing about his internship was how varied the role was. “Alongside seeing how a showroom ran on a day-to-day basis, I was also an extra set of hands at photoshoots, press days and NZFW shows,” Von Fury answered. There, he had his first look behind the curtain at how much goes on in the industry beyond putting a garment on a hanger in a store. “I got to see how many people come together to make the perfect image or the perfect show happen, and it has been invaluable applying that to my own work,” Von Fury added.

With so many fashion graduates flooding a global market in which there are so few job opportunities being offered every year, Von Fury thinks this is the biggest challenge facing him. “This really is a field where you have to identify a niche and create a job for yourself,” he said, adding that this is also the biggest opportunity. “One of the best things about creating a grad collection is that it is the last chance you have to ignore the commercial viability of your designs. I want to focus on working at other established labels and developing my skillset further before I dare dream of selling my own pieces.”

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iD Dunedin Fashion Week 2017

Paul Castro RMIT

After working in the industry for around 20 years, mainly in fast fashion, Paul Castro felt he had lost his identity as a designer and needed to reconnect with his creative side.

While studying for his Masters at RMIT, he reassessed his role as a designer in broader society. “I now have a social dimension to my practice that I lacked before,” he told Apparel Magazine. “The major lesson I learned is that it is never too late to make a major change in your life!”

Fashion was never really part of Castro’s life plan but, on a relative’s recommendation, found himself in fashion school in his hometown in Ecuador. Since then he has worked as a designer for Ecuador’s largest sportswear company, a design assistant for a swimwear company in Canada, a costume designer in the Bahamas and for the last 11 years in Australia as a womenswear designer for the house brand of a Melbourne department store. He is now moving into sustainable fashion with the launch of his brand XS (pronounced ‘excess’), where all items will be made out of repurposed excess production, while also teaching at RMIT. His ‘Amassment’ collection displayed at iD Fashion Week continued the theme of sustainable fashion that he developed in his postgraduate studies. The collection came about after a visit to a warehouse in Melbourne which sold end of roll fabric. Castro was amazed to find a huge amount of excess production sitting around in boxes. “I felt this immediate urge to do something about it,” he explained. “I had to rescue these garments and give them a second chance.”

Castro’s favourite item at iD Fashion Week was his ‘8 shirts Tunic Dress,’ a gown made out of eight shirts, all of which were excess production. It was heavy, but had a flowing nature about it and had a lot of movement once it was on the body. “The repetition of the same shirt in the same configuration illustrates the ‘Amassment’ concept,” elaborated Castro, “where one single utilitarian object is banal and unnoticeable, whereas an accumulation of them in a voluminous configuration becomes aesthetically compelling.”

The collection drew influence from Droog, a Dutch design collective, who accumulated banal and unnoticeable objects in an aesthetically compelling voluminous configuration. “It’s my new design philosophy,” he said. “Turning the ordinary into extraordinary through design.”

For Castro, the biggest shift he has seen

AS SEEN AT

iD Dunedin Fashion Week 2017

in fashion is not a positive one. The internet, globalisation and technological development have resulted in more and faster changes. “Accessible prices mean we buy four times more clothes than 30 years ago, a great percentage of these clothes never get used or end up in landfill,” he said. “Buying clothes has become an addiction.”

Through XS, Castro hopes to invite a reflection on our throwaway society, but this is easier said than done. “I think the biggest challenge with this kind

of approach is getting companies to get involved,” Castro admitted. “It is not easy for companies to admit they have had production that did not sell.

Getting someone else to repurpose their production might be a bit ‘touchy’.”

He hopes to get companies to look past the taboo and approach it in a manner which gives them a competitive advantage – by communicating to their customers their concern for the environment and their desire to take action. For Paul Castro,

Emily Cameron

insights into other facets of the fashion industry.

She also interned at Maticevski in Melbourne as a production intern, where she learned “the level of meticulous attention to detail that is required by brands to sell at such a high level.”

Cameron’s design focuses on colour, material and technique exploration, with the use of laser cutting, weaving and eyeleting becoming design signatures.

She is aiming for a fun, playful and dynamic style, a modern spin on space age retro style. Visual inspiration comes from art, film, popular culture and fashion history. Pop art, the films of Wes Anderson, the costumes and music of David Bowie and 1960s garment archetypes also inform her aesthetic. “I am hugely inspired by Christopher Kane, Peter Pilotto and Mary Katrantzou, all London-based designers that have a huge focus on material, print and colour,” she said.

Cameron recently displayed her women’s readyto-wear ‘Everything in Between’ collection at iD Fashion Week in Dunedin. The collection was inspired by her recent travels to Japan and Takashi Murakami’s Superflat art movement, exploring the relationship between 2D and 3D through print, embellishment and silhouette. Cameron explored the Japanese cultural appropriation of Hawaiian motifs, recontextualising them with a Superflat pop art aesthetics emulating the hyper colour and bold forms of Murakami’s work. The fabric and cut went hand in hand for this collection – the silhouettes were influenced by what she could achieve with the fabric, and the fabrics were chosen for their colour and ability to create silhouettes and properties such as sponginess or flatness.

Of this collection, Cameron’s favourite garments were the coats she opened and closed with. “They are the biggest statements in the collection, and really embody the concepts behind the collection,” she said.

RMIT

From a young age, Emily Cameron was interested in art. “I’d always had a huge love for fashion,” she told Apparel Magazine. “I was always undertaking creative arty projects.”

After school, she completed a degree in International Business with the intention of going on to a career in marketing. She began working at high-end Melbourne boutique Le Louvre in a digital marketing and buying role.

“The further I got into my business degree, the more apparent it was that what I really wanted to do was fashion,” she said, although acknowledged that having the business degree was very helpful background knowledge to have. The pull of fashion became too strong to resist so she decided to pursue a Bachelor of Fashion (Design) with Honours at the Royal Melbourne Institute of Technology. She remained at Le Louvre while studying at RMIT, picking up valuable business skills and gaining

sustainable fashion should be more than just a trend and should be here to stay. With the current unsustainable model of clothing production, a total paradigm shift is required.

“About 50 years ago, Dieter Rams, a famous German industrial designer, came up with a list of principles for good design,” he said. “Two of them refer to longevity and also to environmental friendliness. We need to take action and consider these principles in all of our designs.”

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iD Dunedin Fashion Week 2017

“I also associate them with the most amount of work, as they required the most amount of toiling in order to finesse.”

Cameron is always looking to the future, trying to break through the noise of the industry while balancing creative freedom with business requirements. “I do want to launch my own brand in the future, but first I want to gain industry experience,” she said. “I would love to have a bricks and mortar store to showcase my creative vision, in addition to a webstore and wholesale selling.”

apparelmagazine.co.nz

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