Apparel Magazine // July 2017

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JULY 2017 I VOL 50 I NO 7

AUSTRALIA’S FASHION BUYING EVENT

Discover the latest women’s apparel, footwear & accessories from across Australia & beyond.

SAT 26 - SUN 27 AUGUST 2017

ROYAL EXHIBITION BUILDING MELBOURNE

Vancouver Fashion Week pg 14 Shortlist

6 TRADE TALKS 18 RADAR 22 PHOTOSHOOT 20 ESSENTIAL STOCK

FASHIONEXPOSED.COM

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

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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

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

2 I July 2017

A P P L I CAT I O N S

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INSPIRE ACTION WITH A WHY Why do you do what you do? Why should a consumer care? It is all in the WHY that instantly allows someone to subconsciously build a relationship with your brand.

This theory is commonly known as the Golden Circle and is used by many successful brands. Simon Sinek uses Apple’s business model as an example of the Golden Circle; he explained that the action is inspired by reverse communication.

Normal employees know WHAT they do, some would know HOW they do it, but very few know WHY they do it. The ‘why’ is not to make money or for advancement, it is what that brand or company believes. What message they are bringing to the world. For example, a car salesperson would start by “here’s a car; it has leather interior, it has great mileage – buy our car.” Compare this

This $3000 dress is made from sun hats and was created by designer Simon Porte Jacquemus.

It takes 900 gallons of water to make a standard pair of jeans.

After oil and agriculture, fashion is third most polluting industry in the world.

CHAIRMAN PUBLISHER GENERAL MANAGER EDITORIAL DIRECTOR EDITOR STAFF WRITER

ADVERTISING SALES PHOTOGRAPHER

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 Ankita Singh - ankita@reviewmags.com Caitlan Mitchell - caitlan@reviewmags.com

to Apple; everything they do, they believe in thinking differently. They challenge the status-quo. The way they do this is by creating beautifully designed technology that is easy to use. They just happen to make computers.

By working backwards, your brain subconsciously feels connected to Apple’s beliefs and views. Whereas you are not emotionally attached to the car salesperson’s pitch.

Want to know more? I recommend reading Start With Why by Simon Sinek; it’s a great read and a disrupter to a way of thinking.

This month, we explored the world of New Zealand Made and looked into brands who believe in supporting local. We ask the question, is New Zealand Made dead?

Read more on page 6.

Vancouver Fashion Week Spring/Summer 2018 is almost here! We’re are very proud sponsors of the show and can’t wait to show you the ins and outs of the event in our September issue. See our short list on page 14 including Srishti Kaur representing New Zealand. We are heading up to cover the show and will have a post-show wrap in our October issue.

Rumour has it that David Jones is opening in Newmarket, if correct, this would definitely add to the resurgence of Newmarket as a premier shopping area and provide an excellent anchor tenancy.

Finally, my joke of the month. A blind rabbit and a blind snake cross paths.

“What kind of animal are you?” asks the snake. “I really don’t know,” said the rabbit.

“I’ve never seen myself. Maybe you could examine me and find out?”

The snake felt the bunny and said “Well, you’re soft and cuddly. You have long silky ears and a little fluffy tail. You must be a bunny!” “Awesome!” said the bunny. “Now, what kind of animal are you?”

“I really don’t know,” replied the snake. “I’ve never seen myself either. Maybe you could examine me and find out?” The rabbit feels the snake all over and replies, “You’re hard and cold, and you haven’t got any balls. You must be a lawyer!”

caitlan@reviewmags.com

One quarter of the world’s pesticide usage comes from cotton production.

Most garments have a wastage of 15 percent leftover fabric from pattern cutting.

Global consumption of clothing and textiles has increased by 400 percent in the last 20 years.

The average monthly income of a Bangladeshi garment worker is just $60.

SENIOR DESIGNER

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.

Legendary Authors and the Clothes They Wore

BY TERRY NEWMAN This book examines the personal style of fifty acclaimed authors, both past and present, including Joan Didion, F. Scott Fitzgerald and Oscar Wilde. The book discusses standout fashion moments from each literary icon, alongside beautiful photography and entertaining anecdotes about the authors. The way each author viewed fashion is looked at through their writing as the book includes excerpts from their literature that is reflective of the time and their personal sartorial choices. An innovative read, Legendary Authors and the Clothes They Wore is sure to captivate fans of great literature and fashion enthusiasts alike.

Mario Testino Undressed

BY MARIO TESTINO Undressed features 50 boundary pushing photographs that are centred on the naked body. The book mixes imagery that is both candid and posed, with the likes of Kate Moss and Amber Valletta photographed.

Coinciding with an exhibition created exclusively for the Helmut Newton Foundation in Berlin, the images honour the influence of Helmut Newton through abstract body landscapes. Highlights of the book include unseen photographs shot in the Testino studio, an introduction from curator Matthias Harder, a candid conversation with Carine Roitfeld and a neuroscientific perspective on our visual perception of bodies and beauty from psychiatrist and psychologist Manfred Spitzer.

Corsets and Codpieces: A History of Outrageous Fashion, from Roman Times to the Modern Era

BY KAREN BOWMAN Exploring fashion trends through the ages, this book is both educational and exciting.

Packed with historical imagery, Corsets and Codpieces displays some of the most outlandish trends of the past and discusses the unusual lengths people went to in the name of fashion and beauty. From animal skins and furs that were used for warmth and to protect modesty, right through to the more comfort driven trends from the twentieth century, Bowman takes readers on an entertaining and in depth sartorial journey through history, making it an informative and fun read from start to finish.

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WOOLYARNS COMMIT TO SUSTAINABILITY

THE NAME BEHIND THE BRANDS

With fast fashion and overseas manufacturing making local production almost extinct in recent years, we have noticed a resurgence in the number of boutiques proudly expressing their garments are made in NZ. The Pattern Table is a one stop shop manufacturing hub in Mt Eden, Auckland making it all possible once again. Combing every aspect of the production process under one roof – this creates economies of scale which helps to keep the overall costs down. “How much is your time worth?” Asks Stephen Blase, managing director of The Pattern Table. “In the beginning, we had production managers coming to us flustered, always rushing.” Brands had to work with pattern makers, fabric merchants, cutters, fusers, sewing machinists. Then sometimes sewing outworkers don’t have access to buttonholers or button attaching machines so brands then had to go to a trim attachment business. Then take the garments to the presser and so on. “How much time and money is spent on all the running around? Simply send the fabric and pattern to The Pattern Table, and you’ll get shop floor ready garments in return.” The Pattern Table can also create custommade garments for schools, restaurants, businesses and sports teams. Based in Auckland, they can never compete with low overseas manufacturing labor cost, however, what they can do is make the process easy and efficient. “Overall, it’s worth doing here in New Zealand.”

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Perino by Woolyarns is a luxurious yarn blend expertly crafted with cashmere, merino, silk and New Zealand Brushtail Possum fibre. Sustainability is integral to Woolyarns as they value the importance of using resources efficiently, respecting nature and the environment and being aware of the needs of future generations.

Constantly striving to strengthen their sustainability commitment, Woolyarns aim to maintain a solid and profitable business model that enables sustainable growth, allowing them to reinvest in machinery, technology and the community. Woolyarns developed their own internal quality assurance system for manufacturing of yarns.

All Perino yarns meet the European Union, REACH Standards confirming no harmful chemicals are used.

Where possible, Woolyarns also reuse surplus material to reduce environmental impact and waste.

Woolyarns’ dedication to reducing energy and water consumption ensures they comply with all statutory and governmental regulations including the Resource Management Act.The New Zealand Brushtail Possum fibre is carefully sourced from just a small number of regions and only at certain times of the year.

The New Zealand Brushtail Possum is a non-native, invasive animal that causes harm to its surroundings and wildlife. Woolyarns support New Zealand’s Department of Conservation and the New Zealand Fur Council to ensure the large population of New Zealand Brushtail Possums are ethically managed and to improve the regulations in trapping standards of their fur recovery.

SECOND CONCEPT STORE OPENS FOR KIDS

Radicool Kids has opened their second New Zealand concept store. Following on from the success of their Dunedin Flagship which opened 18 months ago, the new store in Wellington’s CBD is located in the new Lombard Development on the corner of Manners and Victoria Streets.

The successful kiwi kids wear brand was founded four years ago by husband and wife team Emily and Brendan Boniface. The birth of their son River marked the beginning of their quest to fill the gap in the market for stand out, affordable, and high-quality NZ designed boys wear. The brand started by wholesaling into select cool kids’ boutiques and surf/street wear stores throughout New Zealand and Australia, soon after they rapidly gained a loyal following. Upon the birth of their daughter Indie in 2013, a unique girls’ wear collection soon followed. Kissed by Radicool received rave reviews due to its tomboyish, cool, skater girl vibe. Their vision for both stores was to create a place where kids wanted to shop, full of good vibes with a chilled, happy, relaxed atmosphere. The Dunedin store has become a favourite among the locals; customers love seeing the full collection all under the one roof. The Wellington store has the same welcoming and unique vibe, bringing a strong dose of cool to the Capital.

NZ SHIRTS SELLING OUT FAST

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New Zealand Fashion Week’s elite partner, Mercedes-Benz, announced that their designer partner for 2017 will be Zambesi.

The designer is picked based on creativity, originality and ingenuity. Among the prizes are sponsored runway space, which will be the first evening show at New Zealand Fashion Week. Additionally, Zambesi gets to make use of a Mercedes-Benz which will no doubt come in handy during the hustle and bustle of putting together their show.

The ‘Mercedes-Benz presents Zambesi’ show will feature two bespoke outfits created in honour of the partnership. Mercedes-Benz will also be providing cars for New Zealand Fashion Week’s VIP guests, as they have in previous years.

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MERCEDES-BENZ PRESENTS…

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While the reinstated Lichfield TIFIE ER Interna-tional is only 18 months old, the support from retailers has been really M Y appreciated by the Alcock W E AV E ™ family. “I think it’s been a matter of us of thinking in straight lines and not letting our egos get in the way of reality,” said Geoff Alcock.

“We well and truly know the lanes that each of our brands sit in and the price Number one for Warmth points around those.” Alcock Number one for Easy care also explained that the Number one for Comfort forward orders for Summer Number one for Reputation 2017 have been exceptional and if the retail sales of their product throughout winter are anything to go by, forward orders for winter should be very strong as well.

The winter collection boasts warmth and performance by using forefront insulation technology. The LFD, vintage and Liberty fabric collections were bought well by many high-end retailers than ever before. “It has been a huge Vonnella season, where we found ourselves with no stock and every garment has been sold without any discounting,” he added. “And because it sells so well at retail, orders are easy and ready to respond. Geoff added that having for the retailers to hand out.”

Ironcheater has broken through the testing their son Mitch on board has also driven many stage and has flown out retailers’ doors. The new sales. “It is a must to have a youthful view corporate-wear shirt range is now fully stocked point in any clothing business.”

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IS NZMADE DEAD?

Remember the Buy NZ Made logo - with the little red kiwi on a blue background and its implicit promise of quality, ethics and patriotism? That helpful little Kiwi is not seen often on clothing labels nowadays, especially amidst the inflow of overseas fashion brands penetrating our markets and the almost instinctual option of outsourcing to China. But it seems our Buy NZ-Made buddy has been shuffling stealthily through the undergrowth to have a resurgence with ethically minded consumers and designers.

Apparel spoke to Stephen Blase at The Pattern Table, in Mount Eden. Working with at least 30 major, established brands, The Pattern Table is a ‘one-stop shop’ which is one of the only CMT specialists in New Zealand who can bring to life an entire garment from just a design. Blase said his biggest difficulty is awareness in the market, especially regarding the price differences between manufacturing here and overseas.

While a plain t-shirt may cost $4 a piece from a manufacturer in China, the fabric alone here might cost $15 a metre, so for half a metre of fabric to make the shirt that is already double the price. Add on the time of cutting and sewing, at the wage in Auckland which is much higher than in China, and you’re looking at around $15 each which is three times that of China. An upside of manufacturing with a small boutique CMT specialist like The Pattern Table is the smaller order amounts - according to Blase “the bulk of the business is the larger local brands, working on mid to high priced garments. Then a smaller part of our business is customised pieces.” The Pattern Table can make one-off garments, as well as doing finishings and trims for Whitecliffe and AUT students. When asked if he has seen a resurgence in New Zealand manufacturing Blase replied “one hundred percent.”

He has observed a definite upturn with ultimate consumers being more interested in the origins of their garments and designers more interested in the

6 I July 2017

ethics of their supply chain.

Even in the last year, The Pattern Table has seen a distinct increase in work. Sustainability is an important part of the business, and The Pattern Table work assiduously to ensure all garments are cut to minimise off-cut wastage. Whatever leftover fabric they have is made into other garments, given to clients who utilise it for upcycled clothing, or to the Salvation Army shop below them which makes it into rags.

All in all, Blase’s outlook was that of optimism; Kiwi-made is alive and kicking in Mount Eden, and young designers are empowered to bring their ideas to life in the most sustainable, local way possible.

Petra Tyler-Brown at CMT Services Ltd has been an NZ manufacturing leader for over 16 years, and her expertise reflects this. With a permanent staff of five ladies who have been working together for 30 years (give or take), they have a wealth of experience with which to help their clients. Sadly, this experience is dying out.

Despite the ‘upswing in interest’ Tyler-Brown has observed occurring in New Zealand manufacturing, she struggles to find trained staff who can sew at the speed and quality needed for a professional machinist. Given that CMT Services Ltd works with around twenty leading New Zealand designers, the demand for highly skilled machinists is ample and unfulfilled. Tyler-Brown suspects this is due to “a lack of interest in sewing, as many people don’t see the worth of the skill. To work for a manufacturer, you have to be a tradesperson, an artisan and highly skilled in many areas. Now people are more interested in being designers than working in a manufacturing career.” As a result, there isn’t a new generation of machinists coming through which is a challenge for CMT businesses like Tyler-Brown.

And it’s a catch-22; as the amount of local skilled manufacturers dwindle our homegrown designers are forced to look overseas for more complicated garments which can’t be made in New Zealand.

This exodus diminishes the amount of work for local manufacturers who struggle to stay afloat.

Consequently, when our designers want to return their manufacturing to New Zealand, ‘there’s nothing to come home to’. Tyler-Brown is confident that a growing number of consumers are actively seeking NZ-made products, and many designers are focusing on producing within our borders.

However, there is the irrefutable fact that producing in New Zealand inevitably costs more than overseas, even though machinists, unfortunately, aren’t paid a wage which reflects their worth and expertise. Tyler-Brown splits much of her profits between her staff but feels it still is less than what she would like to pay them. As for the future of domestic manufacturing, “New Zealand-made has to stand alone on its own merits, which isn’t always possible,” said Tyler-Brown. All difficulties aside, Tyler-Brown and her small, expert team are flexible, happy to work on small quantities overseas manufacturers won’t accept, and well-versed in the practical sewing and garment production knowledge which is hard to find in our little corner of the world.

All in all, Blase’s outlook was that of optimism; Kiwimade is alive and kicking in Mount Eden, and young designers are empowered to bring their ideas to life in the most sustainable, local way possible.

Apparel’s investigations took us to a veritable authority right at the heart of NZ-made products.

Trina Snow is the Marketing Manager for the Buy NZ Made campaign, the home of that iconic Kiwi logo.

Buy NZ Made is primarily a licensing agent which grants companies permission to use their logo based on compliance with their fair trading agreements. Apparel goods only make up 5 percent of all the products licensed by Buy NZ Made, and within those apparel products, fashion garments are a smaller percentage.

“There has been an increase in the amount of young, up-and-coming designers wanting to be licensed NZ made,” according to Snow. This growth is a good sign, considering the myriad of advantages designers can enjoy by working with local manufacturers. “It keeps skills in New Zealand and keeps the industry alive. Clothes manufactured in New Zealand often fit New Zealand body shapes better than overseas made garments, and garments made here are always really excellent quality,” explained Snow.

For designers looking to be licensed “make sure products are made here - importing pre-cut clothing then sewing them here is not enough. Fabric can be imported, but it must be cut and sewn here.” The Buy NZ Made campaign has been around since 1988, and its prestigious logo is backed up by an ethical approach and the weight of its long-term focus.

Don’t call the coroner just yet, NZ-made is still a thriving part of our industry. It is being kept alive by passionate, intelligent manufacturers who are just as happy to make a slew of designer garments as they are to help a recent graduate start a small line.

Also responsible for its continued vitality are the Kiwi designers who are staying true to their roots and producing as much as possible onshore, supporting their fellow New Zealanders and ensuring ethical supply chains. And lastly, credit must go to the consumer who cares; who informs themselves and chooses NZ made where possible.

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Menswear retailers are overlooking this demographic

SOME SHINING EXAMPLES

In the UK – which has led fast fashion in the last ten years – there are a couple of savvy retailers who’ve leapt upon the opportunity. River Island and ASOS have both launched plus size ranges in the last year.

After men’s fashion week in New York, though runway is the current focus, it’s a good time to be in the broader menswear game.

Katie Smith, Trend Analyst, EDITED

Why? Well, for starters the men’s footwear and apparel industry is set be worth $460 billion dollars by 2020.

For context, that’s 25 times NASA’s annual budget.

And those guys do incredibly exciting things, like hurling satellites at asteroids. That supersonic growth in men’s outstrips womenswear. But as well as making retail more money, the characteristics of menswear are shifting too. For starters, the luxury market is growing fast. According to Euromonitor, it alone will be worth $33 billion by 2020 – a 14% increase from 2015.

DATA SHOWS MEN’S IS HOTTING UP

Add in our data and you get a real sense of why menswear is pretty exciting right now.

We tracked a sample of US retailers over the last 4 years and found in Q1 of this year, new menswear arrivals had grown by 38% compared to 2013. The same retailers have increased the number of brands they stock by 27%, resulting in more varied and competitive assortments. Even better news is that the product is connecting. There was a 31% increase in Q1 sell outs this year compared to 2013.

WHY IS MENSWEAR CHANGING?

These shifts in the market are led by changes in lifestyle. For one, we’re all dressing a lot more casually.

There has also been a big surge in the availability of product of any kind, thanks to e-commerce and the accessibility of fast fashion prices. That’s driven interest in, and adoption of, men’s trends. And finally, retailers have figured out how to sell to men. The segment no longer comes as an afterthought to women’s. Retail is affording menswear its own cadence and tone.

HOW THAT’S IMPACTED THE SHOP FLOOR

Times are a-changing, and retail, being a sensitive thing, has of course changed too. For starters, the average price of menswear has climbed. It’s up by more than 60%, to $232 right now. Below you can see how the price on specific products has shifted, with men’s backpacks and bombers leading the price point growth. But don’t be fooled, that’s not because menswear is becoming more expensive across the board. It’s because the market is opening up. And that’s the really exciting part.

THE MENSWEAR MARKET IS BECOMING MORE INCLUSIVE

Although the under-$50 price point has grown in volume by 9% since 2013, it’s actually lost 8% market share. In 2013, it represented 40% of the menswear market. However, in 2017, products under $50 account for 32% of the market. So even though there are more cheap clothes out there for men to shop, there’s also more at higher price points. The over $400 price point has grown its market weighting by 6.5%.

The menswear market is becoming wider and more inclusive. Which is great news for retailers looking to expand. We’ve found one specific opportunity that requires their attention. Let this next chart do the talking:

Men have grown and so too must the male plus size market.

ASOS was first, with its ASOS Plus line launched in December. It runs up to 4XL and they also have a Tall line for heights of 6’3” and over. The range sticks to the same brand DNA, focusing on trend-led casuals.

The retailer has launched nearly 1,000 Plus products since December, with a 68% focus on the tops category. There is big opportunity here to build out the other categories – the retailer’s main line only has a 47% focus on tops. The product is popular. It takes a Plus item 51 days on average to sell out, nearly three times as fast as a mainline ASOS item.

One of the winning features of ASOS Plus, is the pricing is identical to the main line. Rightly so: no one should paying more based on body shape, but that’s exactly what the lack of inclusivity in apparel has forced shoppers to do for years. River Island’s line Big and Tall launched on March 6 this year, running up to 4XL too. Combining plus size with height could be an oversight here. Fit experts, Alvanon say there’s no data that correlates weight and height.

The line focuses on casuals, covering shirts, denim, outerwear, knitwear and underwear. Its price assortment skews a little higher than ASOS and the line currently has lower sell-through.

TREND-LED MEN’S PLUS SIZE IS STILL UNDER-EXPOSED

These trend-forward retailers are leading the way for men’s plus size, but there’s still a huge amount of uncovered ground. Namely, footwear, occasionwear and sports apparel. The opportunity for any trend-led retailer who enters these gaps is vast.

Sorry gents, you’re getting bigger.

The average price on menswear pieces is increasing as the market opens out.

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Without naming any names, men are getting bigger. The same is true of women if we really have to go there. The difference is, women’s retailers have been great at latching onto that opportunity. New arrivals of women’s plus size apparel grew 375% in Q1 of this year compared to 2013.

Last year, sales of women’s plus size grew 6% to $21.4 billion. Meanwhile, new arrivals of men’s plus size have shrunk by 54%. Men certainly haven’t shrunk though. Hear those missed opportunity alarm bells ring out!

There are specific sweet spots retailers aren’t yet exploiting.

Which demographic are you narrowly missing out on? Could your existing product DNA and price point speak to them? We’re excited to see where this one goes next.

Near, far, wherever you are…

‘Made in China’ is a phrase steeped in stigma. When shoppers see an item which seems less than top quality, they invariably mutter ‘must be made in China’. Companies have been offshoring their CMT for years, due to lower rates, and higher levels of skill. However, with growing levels of consumer interest in the origins and ethics of their garments, sometimes the perception surrounding place of origin can devalue the clothing and cause negative views about the company.

As a result, many brands are moving away from contracting to the world’s manufacturing centre and relocating production closer to home. ‘Nearshoring’ is gaining momentum and seems to allow brands to avoid the taint of manufacturing in countries which have a bad reputation, while potentially gaining more control over the manufacture of their goods. However, does a different location mean better output, ethical standards and level of control? Or does it simply appeal to the consumer’s perception of the brand?

Vicki Taylor has been designing her brand, Taylor, for the last eighteen years, and produces the entire range in New Zealand. When looking for a manufacturer, Taylor’s first concern is the quality of the garment, especially for more complicated designs. Additionally, there is a specific time frame when CMT specialists are needed, so often there isn’t much selection when manufacturing onshore due to the limited amount of manufacturers who are in high demand. Taylor sees garment construction as an art form and points out the high level of skill of onshore machinists, which enables her to retain a production base here. Along with this talent comes a high cost, and according to Taylor, “many consumers just see a jacket and need to start thinking about the craft that went into it to understand the retail price.” Unfortunately, with the growth of overseas manufacturing, the New Zealand manufacturing base has shrunk, to what Taylor estimates is half the number of machinists from when she launched her brand in 1999.

“All the designers want their collections in store at the same time, so they want garments manufactured at the same time, and the local machinists get overloaded. They have busy spells then big lulls, so

there isn’t a lot of stability for these companies” says Taylor. In regards to the future of manufacturing, Taylor points out that consumer preference is the basis for the direction of the industry. Taylor hopes there will always be a manufacturing sector in New Zealand, and acknowledges that large minimum order quantities from China cause designs to become generic, as designers take a risk by ordering large amounts of trend-based styles. Taylor explains “the average consumer increasingly wants something unique” which New Zealand manufacturers can produce more readily, and in smaller quantities, than larger offshore manufacturers.

When launching her label Julian Danger, designer Amy-Rose Goulding spent a lot of time in China searching for the perfect manufacturer. Her search was mainly based on three criteria; high-quality craftsmanship, good working conditions for staff, and ease of communication with the pattern maker and company director. For Goulding, the working conditions are not limited to factory facilities, but also wages, holidays, accommodation, and food

Image courtesy of Amy-Rose Goulding

provided for workers. Finally choosing a small, family-run factory in Shenzhen, Goulding has built up a substantial personal and commercial relationship with the factory and its workers. So much so that she now spends four to six weeks with the factory staff every year during her visits. “There is a huge level of trust and understanding between us now, and it makes doing business a real pleasure,” says Goulding.

Manufacturing offshore has had its difficulties, the most prominent being communications; “when I started manufacturing in China, we were relying mostly on email communications and phone calls.

This sometimes meant waiting a day or so for a reply which made the process quite slow. Now, with modern technology, like video call, I can be in constant communication with our suppliers, we send videos backwards and forwards to each other all day long when developing new products. Freight can also be a headache. It can be challenging with shipping logistics and delayed stock when I am trying to meet delivery deadlines.” However, there are clear advantages which attracted Goulding to offshore

manufacturing, such as the level of skill and variety of products and fabrics available which are difficult, or impossible, to find in New Zealand. For Goulding, customer perception is critical. “We like to be as transparent about our manufacturing practices as possible. We are very proud of the strong relationships we have built in China, and we love telling our customers about this.” No doubt exacerbated by online stories of faulty offshore manufacturing, there is a somewhat erroneous perception that offshoring will reduce the designer’s control over the final product. Goulding has total control, “I travel to China every season so oversee all sampling and bulk manufacturing. Julian Danger has a strong focus on natural fabrics, so I also go to the fabric markets while in China and select the materials we use. I work with some great fabric suppliers that are sustainability conscious”.

Australian designers, and sisters, Mindy Halabe and Jessica Tilley, looked instinctively to Fiji to manufacture their intimates brand Bimby + Roy. Fiji was both the place they grew up and the place their parents currently owned a large solar-powered garment manufacturing factory, so the choice to nearshore there was simple. But aside from the family presence, Halabe also mentioned a slew of other advantages they discovered when they started production. “It’s only three hours from Australia, so if we need a rush order, we don’t have to wait. Fiji is also English-speaking, which is a massive advantage as we have clear and fluid communications.” The only disadvantage is apparent when Halabe and Tilley go on their annual holidays; “we don’t want to come home!” Regarding control, they are squarely in the driver’s seat. Creating entire garments from scratch works well for them due to the factory’s multitude of departments, which enable them to finish the whole product in one place.

The largest challenge is ensuring printed colours match colours shown by graphic designers onscreen. However, this risk is circumvented by express posting samples between Fiji and Australia, which happens often, according to Halabe. Sustainability is incredibly important to Halabe and Tilley, and their manufacturing process supports this. “We’re super proud of the factory, it’s nearly entirely solarpowered, the only factory in the Pacific which can claim that! We are also really excited because they are currently building a creche which is attached to the factory so the mothers who work there can have great, cheap childcare options while they work. Our packaging is also really sustainable; we don’t wrap anything in plastic, it’s all bamboo based materials and locally-sourced tissue paper, so everything is environmentally friendly.” Although Bimby + Roy only started late 2016, social and environmental sustainability underpin their business model, and their manufacturing supports this.

When choosing a manufacture location, there are options abound for young and established designers.

Increasingly, there are also a bevvy of ethically and sustainably minded manufacturers who are working to improve the conditions faced by workers and environmental impact of their businesses. However; it would be remiss not to acknowledge that there are vast amounts of factories which are not ethical or sustainable and have masses of environmental and human rights issues. This highlights the responsibility which designers face when creating their brand. It can be tempting to choose the lowest price and maximise profit or attract more customers with low retail prices, but there are implicit costs to society which outweigh the value of a quick buck.

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Not so

While investigating our sustainable manufacturing feature, Apparel was told that there is more organic fabric sold each year than is grown globally. We wanted to investigate further and find statistics which verified this. Our source pointed us in the right direction, and we contacted a prominent fabric merchant to find out more about the situation. When he refused to speak to us, we felt there was more to be uncovered, and began speaking to other people within the industry to get to the heart of the issue.

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ohn Rainger Textiles, one of New Zealand’s leading wholesale fabric merchants, sources no organic fabrics. A spokesman from John Rainger Textiles explained the reason behind the lack of organic fabrics is the difficulty faced in authentication.

“Being a merchant, we want to know when we say something is organic, that it is organic, we don’t want to deceive anyone or be deceived ourselves”.

Several fabric agents had previously approached John Rainger Textiles with fabrics that they claimed were organic, and “the channel went quiet” when John Rainger Textiles asked for certification.

In other instances, when paperwork

was produced, John Rainger Textiles was dubious about whether they were being shown doctored certificates of authentication. “The problem is the extended supply chain. It’s a struggle for a small fabric merchant in New Zealand to follow back their supply chain because it is such a large channel from the moment the fabric is planted to when it reaches our warehouses.

Unless you trace the fabric all the way back, it’s impossible to verify if it is organic - and it’s easy for people to doctor paperwork. For a large, vertically integrated company it would be simpler to look back to the fabric mill or plantation and maintain a transparent

supply chain, but we really struggle.”

That’s not to say that John Rainger Textiles believes all organic fabrics are mislabeled. Some fabric agents who had offered organic fabrics and been able to produce authentication were legitimate.

However, in these circumstances fabrics were offered at a very high price and John Rainger Textiles thought these prices would be unsustainable in the New Zealand market, so passed up on the opportunity. “A number of fabric makers have gone from labelling their fabrics ‘organic’ to labelling them ‘eco-friendly’. This means the fabric has been sustainably harvested but doesn’t meet the full requirements of organic labelling” explained John Rainger Textiles’ spokesman. “This makes it a little easier for the manufacturers, as they don’t have to meet every specification, but can have some environmentally friendly aspects.” When asked if John Rainger Textiles’ spokesman believed the claim that there was more organic fabric being sold globally than grown, he said it was “absolutely believable. Cotton is a natural fibre, but it is necessary to add things - pesticides, herbicides - to grow it in commercial quantities. It’s the same with any commercialised good grown from a natural source. But the world can’t survive without its commercial goods, and we turn a blind eye because we like our comforts.”

Kowtow have made waves in the New

Zealand fashion industry, with their focus on fair trade and organic textiles.

Apparel spoke to Emma Wallace, Head of Creative Operations, at Kowtow about their organic certification.

Kowtow’s organic cotton all carries the Global Organic Textile Standard, which is a recognised international standard which critiques the entire production process starting after the harvest (the harvest and growth up to that point are covered by the National Organic Process standards). “We have a long-term relationship with our growers. We’ve been working with them for ten years now, so have sustained our relationships, and have no difficulty with ensuring they only produce organic cotton” says Wallace. “We are launching our first denim range this August, and it has taken over a year to source and bring to market organic denim pieces, so it isn’t all easy, but sustained relationships and transparency are a big help.” For other designers wanting to ensure their fabrics are organic, Wallace advises they should look for the Global Organic Textile certification, and ask to see a current certificate.

Although we were unable to find a definitive answer, this claim was an eye-opening one, and points to a serious problem for the fashion industry. While well-meaning designers or buyers may want to buy authentic cotton, a skeptical approach may not go amiss.

CLOTHING LABELS CUSTOM WOVEN PRINTED LABELS TAGS

0800 285 223

www.identitys.co.nz

10 I July 2017

Jared Gardiner

SALES MANAGER, LIMINAL APPAREL

Liminal Apparel was founded with the purpose of creating good employment for people in need of good job choices, and prioritising the garment’s producers in a world where this often doesn’t happen. Ten years ago, the brand’s founders took a trip to visit Freeset, a fair-trade business offering employment to women trapped in Kolkata’s sex trade. After partnering with Freeset to produce their clothing, Liminal Apparel was born. The word Liminal means to occupy a position at, or on both sides of, a boundary or threshold and this is symbolic of the space where the brand wants to sit their relationship with their producers.

Jared Gardiner is in charge of the brand’s sales operations in New Zealand, Australia and Canada.

“We work with manufacturers and contracted designers, so my role is to get these amazing

products to the market,” he said. Born and bred in Christchurch, Gardiner loves being part of a city that’s always changing and says that having a young family is the most rewarding part of his life and keeps him motivated. His first memory of fashion was hunting through op shops for the perfect pair of baggy jeans back in the 90’s and it was his interest in fashion and desire to be part of something that made the world a better place, that drew him to Liminal Apparel.

Gardiner explains that Liminal Apparel does not employ people to have a business, but it is instead the other way around and they have a business so that they can hire people. “People need jobs. Jobs that not only feed and clothe them, but jobs that encourage them, develop them and help them reach their potential and dreams.” Gardiner said that the company gives jobs to those who have been through a hard time and want to come out of the other side. “We employ the battlers of this world. Those that life hasn’t always been kind to, yet they continue to fight for the common good of their family and their community.”

Gardiner believes that it’s important to be completely transparent with consumers and hopes that Liminal Apparel will become the market leader for ethical basics such as tees, hoodies and workwear.

Gardiner says that selling online is an important sales channel with untapped potential, and that the brand has plans to launch a new website in the coming

months. Liminal Apparel continually strives to deliver great products, with their most recent being a newly launched social enterprise called Common Good, which ethically produces custom made event and conference wristbands, and soon their own line of t-shirts.

Perino is a first in cashmere, merino and silk yarn blends with New Zealand Brushtail Possum. So soft, it floats like mist along the body’s horizon. So light, it creates volume without the weight. So warm, you can be minimal with maximum impact.

Available in 42 colours across three blends, discover Perino yarn for Fall Winter 2018/19 collections at www.perinoyarns.com

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I 11

CROPPS

Proudly made in New Zealand, Bees Brilliance products are produced in the company’s very own certified factory, located ten minutes south of Nelson in a small town called Brightwater.

It is here that Julene Cropp and her husband Matthew, along with their close knit team of ten, work on the brand. Understanding how their products are made is of high importance to them, and they work with international reputable suppliers when sourcing functional ingredients, which hold the product together and collaborate directly with producers for New Zealand actives.

It is also imperative to them to know that no bees are harmed in the making of their products, “Raising awareness for bee health, using ingredients which come from bee friendly crops and using ingredients which don’t harm bees are all part of our brand,” Cropp explains. “Bees teach us how to live in a manner that contributes positively to the world around them, and we can take their example of living in harmony with nature and with each other and apply

it to our lives.” Cropp believes a certain level of responsibility comes with being New Zealand made. “As a nation, we all have a responsibility first to our own people and our future generations,” Cropp explained. She added that consumers overseas value New Zealand made skin care more than Kiwis do. “It’s only when you travel, you start to realise that the natural ingredients grown here in New Zealand, have a lot more potency. They are often grown in remote places and compared to many other parts of the world; our environments are still reasonably unpolluted.”

At two years old, Bees Brilliance has already seen a lot of growth and the company are aware that consumers have ever changing needs and strive to keep them up by continually delivering innovative and on-trend products. “We live in an age where people are connected, busy and time poor. There is so much

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12 I July 2017

to choose from, and it’s all available at the tip of your fingers. This has seen us develop innovative products which are so multi-functional you wonder how you ever lived without it. Take for instance our Instant Hydra Firming Shot, it’s an intensely hydrating and cooling gel that instantly tightens, plumps and helps maintain healthy skin lipids.”

Cropp believes that social media can be both a friend and enemy to businesses as consumers can receive information that is not necessarily from a credible source. However, Cropp likes that she can directly engage with customers and tell them the facts.

Looking to the future, Bees Brilliance wants to be globally recognised as a New Zealand made skin care brand and are currently looking for a passionate brand ambassador who has a love of bees, the beauty industry and the New Zealand outdoors and nature to join their family.

For more information visit www.beesbrilliance.co.nz.

MELLOW COSMETICS It was a simple YouTube video which sparked Ima Asali’s ambition to establish Mellow Cosmetics. Despite not knowing where to start or what to do, Asali threw herself into it.

Her determination to work for herself and see her son growing up gave her the ambition and motivation to succeed. That was in 2014, and Mellow Cosmetics has gone from a modest one to ten sales per month to now selling her products online all around New Zealand, Australia, U.S and Canada.

Asali moved to Auckland from Iran as a child, going on to study Management and Human Resource Management at Auckland University of Technology while managing retail stores in the Auckland CBD. The inspiration for Mellow came when she was watching a YouTube makeup tutorial while on maternity She started with lipstick – “lipstick has never been out of trend!” – working on a creamy matte formula with colours to suit different skin tones.

leave after a number of years working at an insurance company.

The name ‘Mellow’ is intended to reflect the values of the brand. “’Mellow’ in the dictionary means colourful, soft and free from harshness which represents my brand perfectly,” she said.

All Mellow products are cruelty-free, paraben free and vegan.

“When I first started, I thought I care about people and animals so I decided to make this brand as ethical as possible,” she explained. “I wanted to reduce the nasty chemicals from my ingredients and did not want my manufacturers to test my products on animals.” The team is small, only three at the moment, but is growing as demand increases. Asali is the sole designer; “However, my husband always helps and inspires me with new names and ideas too!” Asali will design a new product and work closely with the manufacturers to turn the idea into a

reality. “Creating a great formula and beautiful eye catching packaging are my top priority,” she said.

Being stocked in retail stores is one of Asali’s top goals – Mellow started retailing in Farmers in July, which has been going well. Mellow is also stocked at Tryano, a newly established department store in United Arab Emirates. “I want Mellow to be the top selling makeup brand in the major department stores in the western world, working with David Jones, Myers and Sephora is definitely a huge goal,” she said. Despite her lofty ambitions, she doesn’t want to lose sight of what is important. Retail therapy and beach days are her main hobbies, as well as meditation.

“Creating and designing makeup is my passion but I have a bigger goal and that is to help and support women and children in need.” For more information visit www.mellowcosmetics.com.

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I 13

@DeadlyPoniesltd @EvanClayton

Srishti Kaur Designs

@Kate_Sylvester

@StapleandCloth @VANFASHIONWEEK

14 I July 2017

Born in India, Srishti Kaur moved to New Zealand when she was nine-years-old. A passionate person, Kaur finds peculiar silhouettes and extravagant fabrics an inspiration and a motivator to get her creative juices flowing. Always looking to push herself out of her comfort zone, Kaur has taken every opportunity that has crossed her path and this has been key to her success. “I’ve learnt a lot about different types of fabrics and design techniques in the past few years from firstly obtaining a Diploma in Fashion Design and Practice, and secondly working for a rapidly growing bridal company in Auckland for 18 months,” said Kaur.

While working in that company, Kaur started her own made-to-measure garment service with her eponymous brand Srishti Kaur Designs. “I had always had a passion for gowns, but working with bridal gowns perhaps gave me that direction and courage to pursue it. So, with a little nerve, I took a leap of faith and I took on an order from a relative to make her ball dress. That was the first gown I had ever made, and it was made even better that she won best dressed for it.” It wasn’t long before Kaur put her brand on social media which has seen hugely positive result. Kaur had found her niche of high-quality customised eveningwear that has now led to around 80 percent of her orders being placed through social media

channels like Instagram and Facebook. However, after gaining a lot of traction, Kaur knew she was still only a rookie and didn’t want her brand to crash and burn, rather wanting it to stay on the slow burner while she upskilled and learnt more about the industry. “Most importantly, my aim was to push myself with each order to understand what I was capable of, as a designer, as a seamstress, as a patternmaker and as a businesswoman.”

Kaur prides herself on having an excellent interactive service that is provided through every stage of the process. She starts by building a relationship with each client by finding out a bit about them as individuals first, grasping an understanding of their personality which later helps her design for them. On top of that, she also takes in to consideration any design or body specifications needed. Following this a few design options are presented before one or two mock ups and fittings are carried out allowing for design development and the perfect fit. Then it’s all down to the final construction. Each gown by Srishti Kaur Designs is inspired by beauty, feminine elegance and minimalism.

This is supported by high-quality construction techniques, fabrics, and of course the clients themselves.

“Our aesthetic derives from an intertwining of elegance and simplicity ensuring women are left feeling beautiful, feminine and empowered.”

Kaur is showcasing her debut collection ‘Shades of You’ at Vancouver Fashion Week in September.

Excited to have her first international show, Kaur said she was even more excited because it is her first collection. “I am pushing myself with new construction and patternmaking techniques I have never employed before – not to mention elaborate fabrics and laces I’ve never worked with.” This collection has been an interesting journey for Kaur as she has learned a lot about her own design aesthetic and reshaping her business model. “Since my core business so far has been made-to-measure, there is always an intertwining of the client and my vision, which has been incredible, because each client pushes me out of my comfort zone and teaches me things I wouldn’t have otherwise learnt, but it’s not entirely me.” By showcasing her designs at Vancouver Fashion Week, she hopes to gain maximum exposure for her brand and recognition of her work and the techniques used. “I’m excited to network with other international designers and personalities. I want to represent New Zealand on an international stage for high-quality eveningwear, but most importantly, I’m excited for the personal growth through this journey which will help me grow my business in the coming years.”

Nahal Shad Designs Originally from Iran, 25-years-old Nahal Shad was raised in Toronto. When she turned 20, Shad moved to Los Angeles to study fashion design and discover her design philosophy. Now, she has moved back to Toronto to establish her brand and bring her ideas to the streets and red carpets of the city that raised her.

Shad had always had a creative temperament and a deep passion for style and design. For as long as she can remember, she has been sketching away ideas of garments she wanted to create. Both of Shad’s parents wanted her to have a structured and stable life, and a career in fashion was neither. “Therefore with good reason, they always tried to deter me from such an ambiguous path,” said Shad. However, as she got older, her parents saw how deep her passion was and decided to step back and support her in what she loves most.

Nahal Shad Design was established 18 months ago when she wanted to create something that was different, but classic and elegant at the same time.

Her focus is in modernising classic couture techniques but still keeping the chic and luxurious feel that is so

famously known for. “Many people see couture as only evening wear, which my brand will also feature, however, my goal is to incorporate it into streetwear and give it and a little twist of luxury.”

Each piece is made entirely by Shad from the first pencil stroke to the last stitch. “My creations are essentially a diary of my feelings and emotions so following them through their phases and being involved in the design and construction is very important to me.” Traditionally couture tailoring is important to her brand as well as all materials and pieces made in Canada. The most important aspect for her is to utilise Canadian materials and translate them all into well-made and high-quality clothes that can stand the test of time. Shad’s team includes one assistant and her manager. “The brand is in its development phase and requires a lot of micromanaging to translate my visions into the intended creations,” she added.

Shad’s current goal is to ensure that the debut of the brand at Vancouver Fashion Week goes ahead successfully. Following the show, her next goal is to spend some time travelling and researching for inspiration for the next collection. “I have been looking forward to learning about my Middle Eastern culture and incorporating unique attributes of it into my upcoming creations.” Another goal of Shad’s is to have her own store and do collaborations with different boutiques in different fields. From jewellery to furniture to flowers, Shad said the artistic field is so broad and boundless that collaboration and experimentation are very important. A recent collaboration has been with the American Heart Association where she used fashion as a platform to spread a message and bring awareness.

Her Vancouver Fashion Week SS18 debut is her first

show on this scale and said a highlight of her show will be showcasing her first ever bridal designs. “Vancouver Fashion Week is an incredible and well-established platform for designers, and it is an honour for me to be a part of such an event. Being surrounded by creative energies and fellow artists will familiarise me with not only the Canadian market but also the international styles that will also be there.”

Charly Thorn Designs Australian wunderkind Charly Thorn is only 18, but made her first runway collection at age 14 and will be showing her fourth at Vancouver Fashion Week.

“I have always known that I want to be in the fashion industry and since I was a little girl I have been designing and making clothes,” Thorn told Apparel. “I have not been formally trained to sew. I am completely self-taught. The first thing I ever made was a dress out of paper for myself, an A-line dress with a pouch on the front for my Textas!”

Thorn is the sole designer for her collections and had previously made all the samples herself, although outsourced the last collection while she finished high school – as well as working nights to fund the collection. She’s looking to change this in the future.

“The collection for Vancouver will hopefully be the first I can put into production, meaning I will go through the entire patternmaking and sample making process with a manufacturer and then sell through my online store.”

Thorn is excited about showing at Vancouver Fashion Week, recognising the benefits of such an experience. “Being able to show in Vancouver Fashion

Week so young is an amazing opportunity to create great relationships, have exciting experiences and to expose my label to a wider audience.”

Thorn’s brand is very much in the early stages at the moment, and she is hoping to continue creating relationships with people in the industry such as manufacturers and patternamkers until she is ready to launch her label. “I am very passionate about fashion and business and want to learn as much as I can before officially launching,” she explained. Being only 18, Thorn hasn’t yet had the chance to complete any formal training, but intends to pursue fashion design and business in 2018, either in Sydney, Melbourne or internationally.

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I 15

DAD’S

Day Off Strap on your orthopaedic sandals, and fill up your fanny-pack; men’s fashion is going on vacay for Spring/Summer 2018. Designers sent ‘tourist dad’-inspired looks down the runway, heralding next season’s ode to practicality and function in a tropical environment. Fashion’s age-old fascination with ugliness has reached new heights in recent seasons, with ironic normcore giant Vetements blurring the lines between high fashion and everyday utilitarianism, and scores of other designers jumping on the trend. In contrast to the general ‘dad dressing’ trend which celebrates the banality of life, tourist dad is unashamed escapism - perhaps a reaction to the current climate of political, social and environmental instability. Tourist dad evokes a simpler time, when you could slip into a Hawaiian shirt and wander along a foreign boardwalk with the kids in tow. Though subversive in its high fashion home, the tourist dad trend is inadvertently making unfashionable, vacationing dads into paradigms of sartorial excellence.

Louis Vuitton Resene Bondi Blue

16 I July 2017

Palm Angels Resene Casablanca

Ami Resene Daredevil

Gosha Rubchinskiy Resene Princess

T

he clear plastic anorak you wore to see Adele at Mt Smart is now a high fashion item, according to Balenciaga. Their Menswear Spring/ Summer 2018 show featured a contrasting mix of parkas, oversized button downs and zip off pants - designs with functionality at their core. The presence of children walking down the runway with models firmly grounded the designs in a family setting, and took away any hint of mockery which may have been felt without such an earnest situating of the show. As such, the show appeared a celebration of everyday life. Punchy Hawaiian print shirts made a not-so-subtle appearance in a hue similar to Resene Adrenalin, and gave the effect of a unfashionable celebration of warmer weather.

Function, efficiency, expansive pockets - what more could a dad want on holiday? Martine Rose’s Spring/Summer 2018 collection presented a demure version of the tourist dad, taken temporarily away from his office surroundings, but not fully letting his hair down. Slouchy, oversized wet weather jackets, boxy work shorts and khaki shorts which enveloped models from waist to knee were the foundations of the collection. The normcore designs were supported with a neutral palette (including little hints of colour like a blue close to Resene Foam) and designs reminiscent of the late 1990’s. Also notable were the presence of bike shorts, a sporty dad staple.

Imagine, if you will, a tourist dad - from the future. Palm Angels’ vision for Spring/Summer 2018 was rooted in functionality and normcore, with a futuristic tropical vibe. Ensconced in anorak-style garments with hoods secured tightly around their faces, the models were dressed for tropical rainforest action. Scuba vests, full tracksuits and cargo pants were accessorised with thick-soled sandals (a dad-dressing essential), and told the story of adventure holidays off the beaten track. Small accessory details added dad-like utility; belt clips, buckles and toggles adorning cropped pants in a hue close to Resene Casablanca, gave an extra air of usefulness.

If the subtly fashionable dad in a Jean Luc Godard film went en vacances, you could expect them to stroll down a Cannes beach in a look straight out of Ami’s Spring/Summer 2018 collection. The Parisian brand is the brainchild of Alexandre Mattiussi, who cut his sartorial teeth working for Marc Jacobs and Dior. Brimming with clean cut styles, the brand has a distinctive 1960’s mod feel, and chic designs with a relaxed feel. Spring/ Summer 2018 featured a plethora of dad classics bowling shirts, long belts tucked into themselves, aggressively cuffed pants, and puffy trainers which hummed with functionality.

Mattiussi is known for pairing vibrant colours in disregard for seasonal palettes, and this is particularly prevalent in the Spring/ Summer 2018 collection.

Hawaiian prints with bright red florals, close to Resene Daredevil, were unexpected amid the buttoned-up aesthetic of the collection.

The garish effect usually synonymous with a tropics-inspired garment was toned down by tidy, retro styling and classic cuts.

This one’s for the wild dads; the dads who drink too much rum in the hotel bar, squeeze into a pair of

Balenciaga Resene Adrenalin

Colours available from

leather pants from ten years ago, and belt out Johnny Cash at all-night karaoke.

The Spring/Summer 2018 collection from Dsquared was dark and dangerous, with contrasting touches of dad-dressing and vulgarity all thrown into the mix. Who knew leopard print and Hawaiian prints could go together so well? The tourist dad elements of the collection had an undeniably sleazy vibe which were accented with unexpected elements. Oversized wife-beaters had ruffled yokes, long board-shorts had beaded Hawaiian prints, chequered shirts were layered under Hawaiian shirts in a pink close to Resene Cupid. The result was edgy, and unashamedly festive - a refreshing approach which eschewed the seriousness which sometimes overwhelms normcore focussed collections.

That feeling when you’re hitting the surf at 8am, and have a board meeting at 9am...Puka shell necklaces have been ripe for a comeback since the 2000’s reared its bedazzled head in the trend cycle, and yet Louis Vuitton were the last place we thought would spearhead the resurgence. The French heritage house presented a surfer dad’s dream for their Menswear Spring/Summer 2018. Wetsuit inspired garments, chunky sandals and sheer Hawaiian shirts close to Resene Bondi Blue, were combined with white and navy corporate wear. Socks and sandals were the finishing touch in the ode to beachy corporate dads.

Eastern bloc dads need athleisure-wear too. Diving head-first into the domain of too-short football shorts, slouchy track pants and loudly patterned jumpers, Gosha Rubchinskiy’s Spring/Summer 2018 collection held Rubchinskiy’s Russian heritage squarely in focus, while exploring normcore with an anti-fashion zeal.

The collection was split between zesty neon sportswear (in colours similar to Resene Princess) and classic smart-casual styles, undeniably dad-like in design.

Rubchinskiy presented a collection entirely constructed of normcore garments, seemingly repurposed from an existing wardrobe and thrown together just in time for the runway. Adidas branded garments covered with Russian slogans, as well as entire looks constructed from the iconic Burberry print challenged the concept of newness and brand identity within fashion.

The Kooples sounds more like a rock band than a fashion label, and their designs have the same dishevelled rockstar vibe. The effortlessly cool French brand mixed dad dressing with grungy muso influences for Spring/ Summer 2018, and sprinkled in touristy touches here and there. The result was a collection which evoked Mick Jagger taking Jerry and the kids to France for the weekend. The most eye-catching items in the Spring/Summer 2018 collection were underpinned with classic normcore shapes, through which the fatherly inspiration was felt. Wide legged jeans, silver chains and unmissable trainers were mixed in with fanny packs and knee-length printed shorts. The indie overtones were complemented by a neutral palette with occasional explosions of vibrant colour, like an anorak near Resene Curious Blue.

The Kooples Resene Curious Blue

Resene ColorShops

www.resene.co.nz

Martine Rose Resene Roam

Dsquared Resene Cupid

0800 737 363 apparelmagazine.co.nz

I 17

NZ-Made Edition

ANYONE’S DAUGHTER

Fashion has always been a part of Achilles-Dunseath’s life. As a child she would be choosing fabrics for her mother to make her clothes, then would use the offcuts to practice on the sewing machine making outfits for her barbie dolls. “There are a lot of people out there who said I couldn’t be a designer, that fashion is not a valid career,” she told Apparel. “But my goal isn’t necessarily to be an expert; it’s to express myself, find personal freedom and make a living doing the things I love.” The impetus for Anyone’s Daughter came in 2006, when Achilles-Dunseath’s daughter ended up in hospital at only four weeks old. This coincided with the fashion company she was working for restructuring and moving from Tauranga to Auckland, leaving AchillesDunseath with two preschool children, no job and a mortgage. “It was suggested to me that I just use my own name but Erika Achilles-Dunseath is difficult to pronounce and spell,” she said. “I played around with my initials and a concept for a logo and eventually settled on just the A D and the name Anyone’s Daughter.”

Femininity with a street wise attitude quickly became

DÉSIRÉE CLOTHING

Désirée Turner’s love of creating clothing started at just 14 years old when she made her first skirt. Just two short years later she was studying fashion design full time at Massey University and well on her way to a career in the fashion industry. After a stint at Rembrandt Suits, a wedding and the decision to start a family, she decided that she wanted to be a work-at-home mother, and started her business. “I then had to find more and more ways to embed myself in the fashion industry, by meeting as many people in the industry as possible,” she told Apparel. This season Désirée Clothing will be stocked in The Look in Hamilton, High Street Boutique in Tauranga, Loyal in Churton Park and Hebe Boutique in Masterton with plans for more stockists the following season. As a designer Turner loves making customers look and feel good. Her slogan for describing the label’s aesthetic is ‘comfortably chic’because while there are plenty of items that are comfy, quite often they are not very flattering or suitable for wearing out of the house. She works really hard to make beautiful clothes that feel really comfortable and are versatile enough to move from work to weekend with ease. She is also continually working towards increasing the labels sustainability by including at least two zero fabric waste items in each collection.

Many designers spend a lot of time and struggle to come up with a good brand name, however for Turner it was a simple decision to make. Her name ‘Désirée’ is French and means ‘to be desired,’ which is just perfect for a clothing label creating beautiful womens clothing.

18 I July 2017

Anyone’s Daughter’s calling card, described by AchillesDunseath as “a laid back yet luxurious mix of wearable pieces with casual sexiness conveyed in the final details, textural contrasts, uncomplicated layering, combined with a moody palette and reasonable price points.”

Anyone’s Daughter is proudly New Zealand designed and made, with the majority of production taking place in Tauranga and Mt Maunganui. AchillesDunseath prefers to design rather than manufacture – “I don’t have the patience to sew all day, my sample

machinists are bloody miracle workers!” Before designs and patterns are fully finalised and proper specification sheets are made, everyone refers to Achilles-Dunseath’s handwritten notes and hand drawn sketches. If there are any issues, she is only down the road, a key advantage of being locally made. Anyone’s Daughter doesn’t use large factories, and most of the team work flexible hours, often from their own homes. “I am proud to know all these people personally and many of their families too,” she said. “They are a total wealth of skill and knowledge. I’d be lost without them!” Social media plays a key role in the way Achilles-Dunseath interacts with her customers and shares information. “Since I make everything in NZ, I have been able to share a lot of behind the scenes info, take people behind the scenes.”

Sharing the process is just as important as sharing the product, but don’t tell her that the product speaks for itself – “What a load of crap. It doesn’t. More and more people want to know where things come from, how they are made and who made them. The stories you tell can have a huge effect on the way your customers understand your work and how they value it.” Anyone’s Daughter is currently available online and in selected boutiques throughout New Zealand, Australia and the USA, but Achilles-Dunseath would like to one day have her own flagship store. “I think brick and mortar stores offer customers the opportunity to have contact with the brand more directly,” she explained. “When you’re doing that through shops that are not your own, the experience that the customer gets is limited.” For more information visit www.anyonesdaughter.co.nz.

Surprisingly this pretty name wasn’t actually her first name.

“For the first week of my life my name was something completely different. Then somebody made some silly comment about the name and my mum changed my name to Désirée. I figured it was the perfect name for a fashion label, and it was fate that my name got changed!”

Turner has been putting in a lot of effort to improve the visibility of the brand and one of the ways they have done this is by having special sales evenings with retailers. This has been a great way to introduce the stores customers to the brand and give them a chance to meet with designer and put in special orders. These have been very successful for both Turner and the retailer and enjoyable for the customers. “Getting to work side by side with the retailers and meet their customers in person has been wonderful and very successful for both parties,” she said.

Almost all Désirée items are made within the greater Wellington region, but absolutely everything is made in New Zealand as they are very proud to be members of the Buy NZ Made organisation. Most items are made in-house in the Wellington workroom and the rest are sent to outworkers who are mothers working from home running their own small businesses. As a business owner Turner has loved having the independence and flexibility of working when and where it suits her and her family, so it has been a great fit to work with other women who feel the same. For more information visit www.clothingbydesiree.com.

ISSUE CLOTHING Fashion had been an undercurrent in Hannah Burnard and Robyn Pelvin’s lives for years until it finally burst to the forefront and inspired them to create their workwear line Issue Clothing. After choosing a Bachelor of Laws over a Bachelor of Fashion Design, Pelvin noticed a gap in the market for fashionable, good quality workwear for women and was inspired to fill the gap. Burnard had been making her own clothing for years and working in sales and marketing - often for fashion clients.

This experience gave her an uncanny insight into the success or downfall of many fashion brands and illustrated how the correct business model underpinnings could cause a creative endeavour like a fashion line to sink or swim. Their capsule collection approach is designed to

STAPLE + CLOTH

New Zealand made brand Staple + Cloth was originally Kingan Jones, which was taken over and rebranded by Sharyn Condon in 2013. Working with Fiona Fong on designs, Condon is the brand’s owner and managing director, and her wealth of industry experience and business knowledge is helping fuel the brand’s rapid growth. Condon’s childhood was filled with travels, from Auckland to Borneo to the States, which incited her love of fabrics, and inspired her endlessly. Subsequent inspiration came from teenage years spent in a small designer boutique owned by her aunt in Auckland, and hours spent at her sewing machine creating her own outfits. After high school, Condon left New Zealand to study fashion design in London which exposed her to a cross-section of fashion industry roles working at a fabric store in SoHo. Back on home shores, Condon worked with Claire Kingan-Jones for seven years, before taking over the iconic Kiwi brand. Rebranding Kingan Jones with a name describing two of her loves - staple clothing items, and beautiful cloth - was a natural step.

Staple + Cloth has definitely benefitted from Condon’s business savvy skills.

Adamant that a fashion label needs to exist holistically across multiple channels - physical stores, social media and online - Condon sees the immeasurable value in blending these channels to reach as many customers as possible, as well as creating the best value for consumers. Bricks and mortar stores offer consumers a tactile experience of the garments, which Condon knows her customers enjoy, as well as the convenience of being able to purchase online. This approach has worked well for the brand, with their flagship Ponsonby store, and a bevvy of retail stockists up and down the country.

Additionally, Condon is passionate about the customer’s experience of the brand - from the store environment, to how they feel wearing their Staple + Cloth garments. Condon’s next goal is a second Auckland store and alignments with brand ambassadors. After that, she is eager to be stocked in Europe and Asia.

best cater to the needs of working women. Instead of having expansive seasonal collections, Issue Clothing is curated - offering a few simple designs which consumers will be able to wear day-in, dayout at the office. New collections act as a top up, supplementing the work wardrobe and styling effortlessly in with the previous season’s designs.

Despite a lack of formal fashion training, Burnard and Pelvin’s collaborative abilities and strong visions allow them to bring their designs to life effectively. At Issue Clothing, Burnard is in charge of marketing and sales, and Pelvin is responsible for production management, finance and logistics, while they work together on all designs.

Working with local manufacturers has enabled Issue Clothing to be produced with a significant amount of control still in Burnard and Pelvin’s hands, which has meant that the design duo can oversee everything and achieve the quality they want.

Burnard and Pelvin are passionate about customer service and have noticed that consumer focus is changing. No longer are consumers focused on flashy or big brands, the focus is falling increasingly on smaller, authentic brands which can have a conversation with the customer.

Additionally, Issue Clothing’s consumers have also increasingly been interested in the ethics and sustainability of their designs.

CHILDREN OF PROMISE

Future plans for Issue Clothing involve bricks and mortar stores, which will complement their online presence. Burnard and Pelvin have toyed with the idea of a pop-up store, but are also interested in widening their stockists, as their market is made up of consumers who enjoy shopping online for convenience, and consumers who prefer to touch and try on garments before purchase.

Jes Chang grew up as ‘a third culture kid, getting the best of both worlds.’ Born in Taipei, Taiwan, Chang moved to Auckland where she spent her childhood steeped in influences from both cultures. Like many designers, Chang had loved fashion design from an early age - initially enamoured by the magical moment when she transformed a 2-dimensional design to a real, tactile garment.

Despite having a career in fashion as her Plan B, Chang studied a Bachelor of Fashion Design at AUT, majoring in womenswear.

After graduation, it seemed like a natural step for Chang to combine her love of fashion and her love of people, to create her ethicallyfocussed label. Underpinning Children Of Promise is a desire to empower consumers and support the local community. In an age of disposable fashion, Chang is rising above the noise, encouraging consumers to invest in quality clothing which they can wear for years. Her timeless designs are made with versatility and trans-seasonality in mind, so her customers have good quality, effortless garments which are wardrobe staples.

Ethics and sustainability are a vital part of Children Of Promise. While Chang does enjoy manufacturing her designs when possible, Children Of Promise has grown rapidly, and the demands of designing and marketing the line have meant Chang has had to outsource production. Working closely with a local machinist in Wellington has been rewarding for Chang, as she knows her garments are being manufactured in an ethical environment and in a way

which is supporting her local community.

Children Of Promise is made from natural and biodegradable fabrics, which offer the best comfort for wearers and minimal environmental harm. Additionally, Children Of Promise gives 10 percent of the profit of every garment sold to a local charity, an inspiring commitment for a small, growing brand - and one that many larger brands could do well to pay attention to.

Looking to the future, one of Chang’s goals is to dress influential women in Children Of Promise. While retailing directly to consumers via her website has been great thus far for Children Of Promise, Chang would like to have the label stocked in local boutiques and department stores, as well as overseas.

For more information visit www.copthelabel.com.

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I 19

CAUTION: WIDE LEG AHEAD Consumers are liberating their legs and evicting skinny-legged pants from wardrobes and online wish lists in favour of more voluminous versions.

Wide leg pants have crept up on us, first being favoured by more sartorially adventurous consumers and steadily gaining traction as a mainstream trend. The look is quintessentially Kiwi, indicative of our relaxed, somewhat androgynous national style, and is expected to hold consumer’s attention for a while.

Under the wide pant umbrella, there are are a plethora of styles - one to fit every consumer. The two overall looks which divide the trend are louche, silky and simple, or boxy and bold. However, within these two key looks, there is plenty of room for variation based on your typical consumer. While wide leg pants have previously been the exclusive terrain of high-fashion followers and have experienced a rising and falling popularity for some time, the new widespread adoption of the trend by the mainstream consumer indicates the new long-term nature of this trend.

For the more cautious consumers, a wide leg pant is gaining widespread popularity - but keep it simple. Low-key, minimalist designs often have a drawstring or elastic waist without a zip, or a simple high waisted cut which is fitted around the waist and hips, falling straight down the legs into a traditional full leg cut. Combine these shapes with a plain, all-over colour from the seasonal palette and cautious consumers will feel relaxed enough to experiment with the new style. Consumers favour silky, wide leg pants in either a cropped or full length - the cropped

20 I July 2017

versions ending between mid-calf and ankle in a culotte style. An important feature of plain wide leg pants is their versatility consumers want to dress them up and down, so make sure you buy or design styles which can be worn from work to weekend.

In-store merchandising is crucial, as consumers may need extra encouragement to experiment with the trend. Style t-shirts with wide leg pants - a simple, non-threatening entry point for consumers. A classic wide leg pant can work for both winter and summer; swap the heavier winter fabrics like wool for a light-coloured linen during the warmer months. Prices range from low to high, based on fabric, quality and the consumer group targeted.

Now come the most exciting details; statement cuts, exposed zips and flashy prints are options to appeal to bolder consumers. Fashion-forward consumers have been jumping on and off the wide-leg pant train for years, and are ready to embrace this new pant shape with open arms. The identifying feature of this consumer is their interest in high-fashion and originality; there is no defining age range, as wide leg pants can be worn by a variety of ages and body shapes.

Regarding design, everything from wide versions of straight leg pants, to slouchy palazzo pants are selling well. Paper bag waistbands and self-belts are popular, as are deep-cut, accordion pockets which compliment a military-inspired look. Within the statement wide-leg pant category, the key is volume and individuality; these consumers are happy to experiment with a variety of shapes, so retailers can stock designs which are challenging to consumers. Fabrics are mainly light with just enough weight to fall into their correct shape, or crisp and slightly stiffer so that they naturally sit out from the leg and keep their shape. In terms of palette, use an eye-catching colour on a classic design, or a subdued colour on a more experimental design.

Prints are popular, and gingham will be on-trend for another summer. For these adventurous consumers,

style in-store in a homage to high-fashion.

Paired with a blouse, crop top or t-shirt and layered with a belt and accessories, these consumers are open to purchasing the entire new look, or at least an additional product or two which will complement the pants.

A few practical considerations; the use of petite sizing will help shorter consumers, as often wide leg pants in a full-length style need to be taken up for these consumers. This issue also applies to culotte styles, which become full-length on many consumers and lose their intended shape. With more wild designs, retailers should be cautious with quantities ordered - limited stock will encourage these consumers to purchase immediately, and lower the stock carrying expense.

Be wary about overwhelming consumers with options, a few plainer wide leg styles and one or two statement styles are sufficient. The timing of store drops is critical - with smaller quantities of product, you can plan a mid-season drop which will keep consumers’ interest. Following the pace of fast fashion, consumers are increasingly captured by the idea of mini collections within a season, which will keep stores looking fresh and exciting. Even if you purchase the entire seasonal collection at once, splitting this into smaller stories to gradually style into the store is more consumer-centric than dropping an entire new season at once.

While wide leg pants are now a bona fide essential item for any retailer or designer, there are a few fads which will be over before you can say ‘what thigh gap?’

Leather and vinyl wide leg pants are a micro trend which we can kiss goodbye at the end of this winter.

Pyjama dressing has peaked in the trend cycle, and in its place tailored styles are having a resurgence. Tracksuit inspired pants with side poppers are on-trend as part of the 2000’s throwback, but they aren’t appealing to the majority of consumers, and are mainly purchased by young fast-fashion followers. A few micro trends which are heating up in the wide leg arena - large, folded cuffs (popular on denim), a front pleat (hello 80’s!), and slits at the front or side of the ankle.

Moe Bahadur Managing Director, Alhpa Industries NZ

Alpha Industries was originally contracted to manufacture the official Airforce and Navy shirts in 1959. They entered the commercial market in 1970 to keep themselves afloat between government contracts.

This led the company to transform a practical innovation into one of the biggest wardrobe staples of our time. Branching into the commercial market was a game changer for the company, celebrities from Marylin Monroe in the 1950’s to Kardashians today have been key influences of the brand. “This also highlights the 55-year legacy of the brand. Key selling points have been the actual history of the jacket, and the legacy it’s created,” explained Moe Bahadur, managing director of Alpha Industries NZ. Other modern fashion icons, such as Gigi Hadid, have showed their genuine appreciation and love for the brand through social media. Bahadur said that they are possibly one of the very few brands that is actively promoted on social media with no strings attached. “Not many affordable luxury brands have this type of exposure.”

Consistently in high demand, Alpha Industries has always taken pride in the design and quality of its jackets. “One thing that sets us apart from our competitors is the fact that the quality and workmanship has always remained the same,” said Bahadur. “We source high-grade material and manufacture our products in accordance with the U.S. military guidelines, even the civilian MA-1 is carefully crafted to perfection every single time.” Bahadur also added that having 55 years of support from the U.S. military has contributed to the success of the brand and ongoing demand for their products. The MA-1 flight jackets are durable in temperatures up to -4 degrees and was a crucial functionality for when pilots went down and were lost. “They needed a jacket that would not only keep them warm for short periods of time, but also keep them dry, with the ability to handle difficult terrains. Nylon retains heat and is also super durable in wet weather and doesn’t absorb moisture as easily as natural fibres,” he added. Bahadur explained

that nylon also holds its shape a lot better and can be easily manipulated to cater for the various aspects of the jacket resulting in a sturdier overall product.

The core design has and always will be military inspired. However, the brand works to incorporate different trends and mixes styles from all over the globe.

“Our Chinese New Year designs have proven that Alpha Industries can adapt to any culture, design and latest trend but still have the military influence at its core.” Recognised for its iconic Indian Orange lining, this was a functional aspect of the design intended for the jacket to be reversed for lost pilots to be rescued.

“We’ve maintained that heritage aspect ever since.”

Bahadur said that the various collaborations with other brands has highlighted Alpha Industries as a strong player in the fashion industry and their ability to adapt to other brands business models. A notable collaboration of Alpha Industries is with the French fashion house Vetements, while other collaborations include; Nike, Ben Sherman, Burton, and even Playboy.

As the New Zealand territory director, Moe Bahadur first noticed a gap in the market in 2012 after a trip to South Africa. “The jackets were everywhere in South Africa, but the jackets hadn’t quite reached New Zealand yet.” The affordable luxury streetwear jackets aren’t just for adults either, Alpha Industries’ sizing is available from two-years onwards. Customisation is another service Alpha Industries can provide as they have in house embroidery systems and five factories across the globe. “Overall, it’s a top-notch brand. It’s simply affordable luxury.”

Forward season collections are available for pre-orders now. For more information email info@ alphaindustries.co.nz.

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I 21

C&M Kiara Grosgrain Shirt Dress Kowtow Gala Dress Neuw Tokyo Sherpa Leather Jacket

22 I July 2017

PHOTOGRAPHER & STYLIST: Caitlan Mitchell MODEL: Angelica Santini at 62 Models HAIR, MAKEUP & NAILS: Tanya Barlow from Hello Tanya

Kowtow Departure Blazer Kowtow Classic Pant

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I 23

Neuw Morrissey Shirt C&M Dante Jacket Paris Georgia Basics Blair Jumpsuit Deadly Ponies Phantom Duffle

24 I July 2017

Angelica Santini 62 MODELS Angelica Santini was scouted a year and a half ago during her summer job at Hungry Jacks in Australia. “I was literally mopping the floor when an agent approached me!”

Santini’s mother is a psychologist, her father is a doctor, but her auntie dabbled in modelling when she was younger. Her mother agency is Chadwick Models in Australia where she is signed with both Melbourne and Sydney. Santini travelled to New York for modelling and is now in Auckland just in time for New Zealand Fashion Week. Her biggest achievements to date is being published in Myer Emporium magazine and walking in Melbourne Fashion Week. Santini explained that the New Zealand industry is a lot friendly than other countries. “On jobs, everyone is relaxed and chatty which makes working heaps of fun. I also really like that New Zealand seems to be inclusive of more body types and you see more of a variety of models in general,” she said.

Currently studying Urban Planning and Architecture at the University of Melbourne, Santini would love to do the full runway circuit around the major fashion capitals. “I absolutely love runway, so for now, my aim is to be involved in as many fashion week shows as possible.” Dion Lee, Toni Maticevski, Camilla and Marc, are just a few names who top the list of who she would love to walk for. If Santini wasn’t a model, she would be working hard to become a town planner and someday would like to become the mayor of Melbourne, her home town.

Her interest in fashion and style has always been a primary reason for pursuing modelling.

Santini loves the creative process that goes into a shoot, from hair and makeup to the end result. “I think that the longer I’ve modelled, the more I can appreciate this artistry and the more rewarding I find it to be involved in it.”

Anyone who has a strong sense of self and knows their values and works hard to stick by them in achieving their dreams is inspiring to Santini. “In the past, I was inspired by anyone who seemed to have achieved greatness or fame, however, now I am inspired more by people who live totally by their values and work hard, regardless of what they actually have achieved.”

Santini advises others that it is important to know who you are and what you want to achieve going into the industry, and not to let people push you around or try to change who you are or how you feel about yourself. “Also, moisturise every day and drink lots of water.”

Gestuz Cori Blazer Gestuz Wide Leg Pant Topshop Cardigan

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I 25

MANDATORY The humble shed has been the birthplace of many men’s projects doing up bikes, restoring furniture and potting vegetables. But for Clare Bowden and Fiona Edwards, a garden shed was the beginning of a different kind of project - the menswear label, Mandatory.

Clare and Fiona met and became friends while studying at Wellington Polytech (now Massey Wellington) in 1988. They crossed paths again in 1995 at a fashion and hair event in Wellington called To Die For. When they met up again they found that, independently of each other, they had both set up womenswear labels - Shine and Peel. Their designs were sold through the Wellington stores, ZFA and Starfish. Clare’s studio was located in a friend’s garden shed. “With a cutting table and machines I could work long hours without disturbing flatmates. I had one outworker. Rent was cheap and businesses and friends alike were very supportive.”

It was the complaints of male friends about the lack of good menswear options in Wellington that provided the impetus for the pair to join together to start a new business. “Guys at parties had been constantly decrying the lack of menswear options and we thought there was a real market for it.” Mandatory started when they found a retail space in the heart of Cuba Mall, near Wellington’s iconic Bucket Fountain. The space had previously been a menswear store. They opened their doors in the afternoon of 15 June 1997, sold one thing and went for a beer. “We had been up for days and nights getting everything ready to open and were exhausted.”

For the past 17 years, Mandatory have also occupied a studio, one block away in the historic Hope Gibbons building. There are two large cutting tables, finishing machines, a washing machine, industrial drying rack and creative space to design. Clare and Fiona employ

26 I July 2017

three full time and four part time staff. They also have two contract sewers and two contract manufacturers.

Everything is produced in small runs, in season, in Wellington.

Clare and Fiona share the design process, but with very different approaches. Fiona works from scratch and sources cloth to work her designs up. Clare designs after she has secured the cloth. “We work in support of each other’s designs and get considerable support from our staff.” Clare says custom fit, styling and wardrobe management are a big drawcard for Mandatory. “The feedback we commonly get about our clothes is around the understated ‘classic-design-with-a-twist’, the quality and the fit. Guys often come in wearing trousers they’ve owned and loved for four years and that’s a real source of satisfaction for us; that garments have been so useful; well-worn and well-loved and still look great. The other reward comes from making things to fit for guys who have difficulty finding clothes they like that fit. The ethnic diversity within the small population of New Zealand means a huge range of sizes and tastes. We made an outfit for a man who was 6”7 the other week and it was the first time he had tried something on that was made for him and fit perfectly. The ability to chase the perfect fit and ‘create recipes’ for those tricky shapes is what makes our clients so loyal and we love being able to offer it.”

Tough times with the 2008 global financial crisis meant Clare took to the shop floor and stayed. Being on hand means she is available to help with the fit.

“Guys are in pants all the time, everyone can relate the agony of the hunt for good shape in the design you like.” Suits and tailored wear will always be an important part of the business, but there has been an increasing shift to the more ‘smart-casual’ dress code that many workplaces now employ. “Most of our clients don’t have two separate wardrobes for work and casual as they once did so we design a lot more for the ‘double-duty’ smart casual wardrobe.”

Mandatory has deliberately steered away from wholesale. Instead they aim to keep the physical and financial costs of production to a level that delivers to the actual market. “We are immensely proud of this approach which allows for meaningful, highly appreciated work for employees. We can use limited edition high quality fabric without exorbitant cost exacerbated by waste stock.” Fiona and Clare see this way of working as the future culture of fashion. Fiona cites Tom Ford’s announcement of his See Now – Buy Immediately collection this September. “It will

mean actual demand can be better married to supply, reducing waste and bring a correction in costing both at the bottom end and top of the fashion market.” It seems that their approach is working - Mandatory has been accredited as a Conscious Consumer business, the New Zealand organisation aiming to create a global marketplace for sustainable products and services. It’s an appropriate recognition for a label with such high regard for the craft of making that began its life in a garden shed.

By Kelly Dix, Content Developer, NZ Fashion Museum kelly@nzfashionmuseum.org.nz Images copyright of Mandatory, courtesy of NZ Fashion Museum

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Sophie Parsons

MASSEY UNIVERSITY

Sophie Parsons grew up on an orchard in Hawkes Bay where her dad would work tirelessly.

Parsons explained that watching him wake up at 4 am every day to manage the orchard taught her to work hard to get what you what. Now in Wellington studying textile design at Massey University, Parsons loves the rich culture and design of Wellington.

Currently designing pieces for herself and competitions, Parsons hopes to start her own brand soon. “But for now, I just love being able to make whatever I want to without having to try to impress others. This keeps me very creative,” she explained.

One day she would like to open her own store, but in the meantime, social media is a great platform to utilise. At university, many students around her have

28 I July 2017

started their own business through social media.

Parsons loves deconstructing items or garments and remaking them. At high school, her interest in fashion construction and design bloomed because her teacher, Kirsten Le Bon, inspired her with an admiration for materials and the ability to create.

Heavily influenced by her family and the environment, Parsons explained that her family had taught her to work hard and to do what she is passionate about. “I think the environment has so much beauty to be able to inspire designers to express ourselves. If I’m ever stuck for ideas, I take a sketch book and a pen and walk around wherever I see trees.”

Rick Owens was one of the first designers that made her stop and say ‘WOW’. Even though his style isn’t the same as Parsons’, he made her realise how versatile design is. Owens allowed Parsons to see

another side of fashion and that spatial, furniture, object, material and video were all areas of design.

Parsons believes that sewing is an invaluable skill and that learning technology at school is crucial.

“I like using laser cutters, sonic welders and any machine, not just the traditional ones.”

Now in her first year of university, Parsons admitted she is still very inexperienced and has a lot to learn. At New Zealand Fashion Week last year, Parsons presented a silk jumpsuit and a woollen jacket as part of the Brother Design Stars Awards.

“I loved being able to work with wool, and the final jacket left me inspired to make woollen wall hangings and more,” she said.

Parsons used wool as she finds it to be a very striking material, but living in New Zealand, you see wool everywhere. She added that there isn’t enough credit given to the properties and characteristics of wool and she wanted to show how versatile it is. Always trying to use natural materials, Parsons likes to use silk and wool as they are suited to the skin and have great properties and aesthetic.

Parsons walked away as the winner of the Brother Design Star award of 2016 during NZFW. “I was so surprised,” she said.

“The opportunity to be at New Zealand Fashion Week was the best prize I could’ve asked for. I met some inspirational NZ designers and was able to show my designs on the runway at The Graduate Show supported by Brother alongside some of the top university graduates across NZ who encouraged me to carry on with my studies in design.”

The biggest challenge for Parsons is to be able to keep up with technology. To be able to create and design new materials through 3D printing, laser cutting, and evolving technology is exciting for her and functionally is beneficial to the consumer. “It’s something I really enjoy.”

Moving deeper into the industry, Parsons said she is lucky to have access to these experiences and is going to make the most of everything. “I don’t know where I’ll end up or what I want to do, but I just keep doing what I enjoy one day at a time. The world is my oyster.”

Watch Out!

In the age of the smartphone, a timepiece has become superfluous in terms of practicality. However, as they decrease in popularity with the everyman, the accessory of a watch has come to say a volume about the wearer.

A watch has become a deliberate yet subtle way to showcase your personal style. Worn in addition to other pieces of jewellery or solely as a stand alone piece, the watch is the ultimate accessory for the thoughtful modern consumer. The timepiece trend has longevity on its side and spans all price points. While there is a general range of trends which are popular amongst all consumers, specific price points have unique iterations which watch designers comply to.

Couture designers have been exploiting traditional conventions and making high-end fashion watches into statement accessories. A touch of humour is present in some designs – such as Chanel’s Mademoiselle J12 featuring an image of Coco Chanel on the watch’s dial, with moving arms like the design made iconic with Mickey Mouse. Gucci, as usual, has pushed the envelope design-wise, creating eye-catching watches, with the Gucci animal motifs synonymous with the brand on leather and canvas straps. A clear plexiglass face and coloured plexiglass strap mimicking the canvas strap make for futuristic looking wrist adornment

and are a clear fashion statement. While these innovations have been popular and gained attention with consumers, many designers such as Hermès are choosing to stick to a conservative aesthetic, appealing to the traditionalist customer looking for subtle flair, but will not be dated by changing trends. Straps for Apple watches are increasingly being designed by high-end designers to meet the need of their affluent, tech-savvy consumers.

Jewellery and watch specialists have been reinvigorating the classic accessory with aplomb, reimagining luxurious innovations aimed at the female demographic. Men’s watches have traditionally been more high-tech than women’s, which are more straightforward and decorative, often featuring a more detailed strap and a less cluttered face. Omega is leading the pack, with a recreated Speedmaster 38mm.

In a divergence from the simpler style often used when creating watches for women, the new Speedmaster has more subdials, an aviator-esque look, and comes in a subtle cappuccino or olive colourway, bringing a little more of a masculine feel to the women’s design.

Tiffany’s have innovated the classic watch by turning square faces on their sides, so the top of the watch face is at the bottom of the wearer’s hand, not on

the edge of their wrist. The major innovation in straps is a development of the double length strap. Wrapped twice around the wrist, this style has been an instant hit with consumers and adopted by several watch brands for both analogue and smart watches.

Mid price point watches, including fashion brands such as Marc Jacobs and Michael Kors, follow the same general trends as the higher tier of designers - offering classically designed timepieces as well as more trend based models. Colourful straps and decorative faces are the main trends, as well as the rise of smartwatches and fitness trackers, which have both got a mid-level designer spin on them. Fine mesh straps are more on-trend in this price bracket than the higher price level, as is a masculine, oversized look – such as the Michael Kors Bradshaw.

These timepieces have had high-quality workmanship and generally fewer features and subdials than their higher priced equivalents.

Watch sales at lower price points are also continuing to grow strongly, as consumers buy more trend based pieces with a short-term outlook, and can afford to have more fun with wild designs and bold colours. The styles available are much more diverse, and retro-inspired looks are popular. Digital watches are more widely available at this price point than at higher price points, due to their popularity with the millennial demographic. Canvas straps, especially striped sailor-style straps, also sell well with the millennial demographic, as do Swatch-inspired coloured plastic straps.

Across the board, there are several general trends which remain popular with the majority of consumers. Round, cushion and curved faces remain more popular and widely available than tonneau, square and oval, with round faces clearly leading the pack. Gold and silver remain the predominant metals used, although white and matte black timepieces are becoming more widely available. Blush pink and classic mid-brown are the most popular strap colours and rose gold is also growing in popularity for younger consumers.

Watches represent a thoughtful accessory choice and a classic demonstration of wealth. A variety of cheap and cheerful choices will keep younger, more trend-conscious consumers happy. While quality craftsmanship within more conservative trend categories satisfies customers with traditional taste. The high-fashion consumers are after more experimental, eye-catching styles which showcase their unique stylistic features.

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apparelmagazine.co.nz

I 31

Deliver Women’s Delicate Fabrics Made of 100% Wool

@lovenwool Contact us: lnwool.co.nz 32 I July 2017