Apparel Magazine | July 2018

$ 9.00

JULY 2018 I VOL 51 I NO 07

SOPHIE SCALLY

STUDENT LIFE pg.25

SUCCESS UNDER THIRTY pg 10

editor ’ s note

fashionable reads

DOES YOUR RETAIL NEED SOME THERAPY?

Do you have a lot of customers walking in… and then walking out?

Well it may have a whole lot more to do with your store, not your product offering. Over 70 percent of all purchase decisions are made in-store, and this means environments matter. It’s a tough job to create a specific atmosphere. Whether it’s calm, quirky or disruptive; shoppers should feel comfortable enough to linger, enjoy browsing aimlessly, and ultimately, purchase something.

LOCATION, LOCATION, STRATEGICALLY PLACED LOCATION Speaking of clutter, it’s time to strategically Unfortunately, Phil Spencer and Kirstie Allsopp cant help you choose the commercial right spot, but it’s true what they say. “Be careful where you set up shop.” Choose a space that reflects your brand image and is nearby other business that complements yours. The right neighbourhood is the first step to luring in potential customers.

ENTER IF YOU DARE The ‘just passing by’ consumers will be drawn to you like a moth to a flame. Large display windows with beautiful displays will entice customers to take more than just a few steps inside. A glimpse of a well-designed interior from the outside has the same effect. It is important to have a spacious entrance way enabling customers to pause and take in the store’s layout without the immediate clutter.

Less is more.

CRUCIAL COLOURS Eighty-five percent of the reason why shoppers buy one product over another is that of COLOUR. Yes, that’s right.

This is still true for interior colours. Too much red can irritate some customers, but when done right it can be energetic.

Yellow is optimistic and youthful but also grabs attention. Orange can be quite aggressive.

Black can be powerful and sleek, but too much and your customers are in the dark. Your overall colour palette should match your brand identity, so this shouldn’t be too hard to pin down. It is better to go for more timeless design and be able to make a few minor changes later as trends change and evolve.

organise your store with related products together, which will encourage further spending. I’m talking togs and straw hats.

Shoes and socks. Evening and jewellery. And always place your clearance or sale at the back of your store, this will lure them to explore the whole store.

OVERALL EXPERIENCE Are your employees knowledgeable about what they’re selling? Are they approachable? Engagement doesn’t just come from staff; it comes from interactive spaces and displays that allow products to be examined and tested. Encouraging shoppers to feel good about what they are buying is a key selling point. Half of the time this is staff attitude and engagement, and the other is the fitting room. The fitting room is a powerful space and is not to be underestimated. A cheap mirror, lousy lighting and dirty walls can make all the difference. If the customer doesn’t feel good, they will not be saying yes to the dress.

In the end, let your customers linger and lust over your garments, have a tidy store and don’t go too heavy on the fuchsia. Take these top-selling retail tips and apply them to your retail offering today.

***

And now what you have all been waiting for – my joke of the month. A teacher gave her year one students coloured lollies and asked them to guess the flavour of each colour. They all ate a yellow one and squealed ‘LEMON’! They ate a green lolly and called out ‘LIME’! When it came to trying the honey-flavoured candy, all of the children couldn’t identify the taste. “I’ll give you a clue,” said the teacher. “It’s what your mother may sometimes call your father.” A little girl looked up in horror and yelled: “Oh my gosh! They’re assholes!”

Posturing

By Shonagh Marshall and Holly Hay This book celebrates aesthetic oddness by rejecting hypersexualised glamour.

Twenty-one contemporary fashion photographers use the body and posture to explore and create new stories. The book binds together 58 photographs as well as a series of interviews with photographers, stylists, set designers, and commissioning editors.

The Dandy at Dusk

By Philip Mann

Philip Mann creates a perfect blend of memorable anecdotes paired with an exploration of style, identity and influence. Throughout this book, Mann interweaves stories with an entertaining history of tailoring and men’s fashion. The Dandy At Dusk contextualises the relationship between dandyism, decadence, and modernism.

Vogue on Vivienne Westwood

By Linda Watson

Vivienne Westwood is known for her fearless, nonconformist creations.

She is a provocateur, a radical thinker, and an instigator.

This book features everything from the mini crini, the liberty corest, the rocking-horse shoe to the Sarah Jessica Parker’s extravagant wedding dress in Sex and the City. Unleashing her wildest dreams, the world has witnessed Vivienne Westwood’s imagination come to life for almost 40 years.

Fashion Climbing

By Bill Cunningham

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CHAIRMAN

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

Caroline Boe - caroline@reviewmags.com

Georgina Mckimm INTERN Coralie Vissac

2 I July 2018

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

The legend behind street style photography, Bill Cunningham’s Fashion Climbing tells the untold story of Cunningham’s life.

Aptly titled, Fashion Climbing: A Memoir with Photographs, this book explores the land of freedom, glamour and above all – style. He had dreamed of a life dedicated to fashion, but his desires were a source of shame for his family. After dropping out of Harvard, he had to fight tooth and nail to pursue his love.

NZFW REGISTRATIONS NOW OPEN

Join us as we celebrate the NZ Fashion Industry and its creative talent.

Visit nzfashionweek.com/delegates to register and for information on delegate benefits.

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Designer: Zambesi Photographer: Snapper

27 August - 2 September

fast five

AI ON THE RISE

The latest report from Capgemini indicates that consumers are becoming increasingly accepting of artificial intelligence. The report states that 55 percent of consumers prefer interactions to be a mix of both human and digital, while 64 percent of consumers want the technology to resemble humans — in some way.

“By focusing their AI implementations to reimagine, streamline and simplify customer interactions, organisations can boost customer spend and loyalty,” said Mark Taylor, chief experience officer of digital customer experience practice at Capgemini.

The report also showed that 63 percent of consumers felt that they benefited from

the high level of availability that software provides while 48 percent claimed that they were excited by the opportunity to be able to delegate tasks to a virtual assistant.

AI could also help to increase customer spend with 38 percent of consumers claiming that they were more likely to purchase a product following a pleasant AI-enabled experience. A quarter of those surveyed said that in the past they had increased their spend by 10 percent due to a positive AI tech experience.

Capgemini surveyed over 10,000 consumers and 500 leading executives from top global brands to achieve the results of the survey.

TOGETHER FOR SUSTAINABILITY

PRINTER TO BE STAR OF TRADESHOW Mouvent is bringing its revolutionary digital textile innovations to India with participation at Gartex 2018, in which there will be two daily LIVE demos of the new TX801 digital textile inkjet printer at the Mouvent booth.

Using pioneering digital technology, this Swiss start-up company focuses on exclusively delivering the future of digital printing.

As seen in China and Turkey, Mouvent is confident that its revolutionary TX801 digital textile inkjet printer will be the star of Gartex in India this August. The very compact printer can print up to eight colours and can complete up to 50 percent of the print jobs in a single pass, thus boosting productivity up to 200 sqm/h. It uses a compact proprietary print engine based on their Cluster technology, and processes knitted, woven, and non-woven textiles with a maximum fabric width of 1820mm with a roll diameter of up to 400mm.

This is the first printer launched by Mouvent which is backed with a full product range of digital printers to be introduced in the next few months.

“We are delighted that the industry reception of the TX801 has lived up to our high expectations,” said Mouvent’s marketing and sales manager, Ghislain Segard. “Industry experts have been impressed with the extremely high print quality at very high production speeds, as well as its precision and scalability. We are looking forward to demonstrating our technology in India, particularly so shortly after we announced a vital strategic partnership in the country.”

The printer has already received a lot of attention at high-profile tradeshows lately.

4 I July 2018

TESTEX has joined the Zero Discharge of Hazardous Chemicals (ZDHC) Roadmap to Zero Programme actively underlining sustainability efforts.

ZDHC’s Roadmap to Zero Programme focuses on the core elements of eliminating the use of priority hazardous chemical substances. The Manufacturing Restricted Substances List (MRSL) is at the centre of the programme.

This list indicates the level of use or restriction on each chemical.

ZDHC’s goal is to eliminate the use of these chemicals in textile, leather and footwear production. “As an independent testing and certification institute for textile and leather goods we operate at the gateway between brands and their manufacturers,” said TESTEX’s Marc Sidler. “With the admission to the ZDHC programme, we aim to act as a link between our customers and the programme’s signatory brands, thereby creating added-value.”

TESTEX is a proud advocate for sustainability and takes the issue very seriously as it is one of the most

important topics affecting our planet today. They added that corporate responsibility is essential to a healthy environment for all of society.

These values are reflected in TESTEX’s certification portfolio. ECO PASSPORT by OEKO-TEX®, for example, verifies chemicals for a sustainable textile and leather production. With TESTEX’s admission into ZDHC’s Roadmap to Zero Programme, they wish to actively contribute to the reduction of environmental pollution and act as a link between signatory brands and manufacturers within the initiative.

For more information about the ECO PASSPORT by OEKO-TEX®, visit www.oeko-tex.com/ecopassport

apparelmagazine.co.nz

I5

PAWS ON CASHMERE

DECLINE IN LEATHER SHOES With the increasing popularity of sneakers and the shoppers’ gradually spreading interests in ethical fashion, the demand for leather shoes has been going down majorly in the past few years.

The growing consumption of beef by the American population, amplifies the production of leather, creating a surplus of material. In fact, even though leather is a versatile and commonly used element, the footwear industry remains one of the primary buyers.

Nevertheless, the recent trends in the fashion industry are putting a shade on the leather footwear business.

In fact, the global sustainable movement that has recently emerged has encouraged designers and

environmentally conscious consumers to use non-leather alternatives and innovative techniques that are better for the environment and the future.

Brands such as Adidas, who have created shoes made of recycled plastic, or the Berlin-based vegan shoe brand Avesu, who make shoes out of materials such as Gore-Tex, natural and recycled rubber, cork, or recycled bottles.

However, the primary factor putting a strain on the leather shoe demand is our growing interest for comfortable and versatile sneakers. Their rising popularity is slowing down the sale of leather high heels and dress shoes and will in the near future force the beef industry to find new ways to use their hides.

ELLE + RILEY has teamed up with Bridge Bully Rescue to raise awareness about bully breed dogs. The dedicated organisation rescues neglected bully breed pups from the wider Auckland area, ensuring that these animals grow up to become loved family dogs. Bridge Bully Rescue also do all the necessary work including desexing, vaccinations, microchipping, NZCAR registration, de-flea and de-worming.

Afterwards, they then place them into well-vetted forever homes nationwide.

The entirely self-funded organisation relies on donations and foster parents, as well as a little help from Paw Justice. Currently expanding, their goal is to have a purpose-built area for up to 30 puppies, including an isolation unit for pups that are unwell and have special needs.

ELLE + RILEY have launched the Clooney Dog Sweater in-store and online with 100 percent of the profits going to Bridge Bully Rescue.

“Being huge animal lovers, we always knew we would launch dog sweaters within the Elle + Riley range. Rosalind Stewart, Co-Founder of Bridge Bully Rescue, was already a customer of ours and it seemed like to perfect opportunity to give back to an organisation we respect and love,” said Elle Pugh, co-founder of ELLE + RILEY. “The organisation is run by two caring individuals in support of abandoned or abused animals. Such selfless behaviour is what we need more of in this world, so anything we could do to help their cause was important to us. We would love nothing more than to see their charity grow.”

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6 I July 2018

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I7

trade talks

Swiper NO Swiping NZ OVERCHARGED FOR CONVENIENCE

Believe it or not, New Zealand retailers are still paying ridiculous fees for credit and contactless debit card transactions. After Retail NZ’s results were released from their 2018 Payments Survey, it showed that when compared to Australian and UK merchants, New Zealand businesses were being ripped off. Including interchange fees and bank margins, New Zealand merchants continue to be charged far higher than in jurisdictions such as Australia and the UK, and lack regulation which drives expensive reward programmes for premium cards.

Convenient POS technology is crucial in today’s retail landscape and you would be well-placed to go the extra mile for contactless payments. Depending on your bank and provider, you could be paying up to 3.5 percent more, so it’s no surprise that there is a growing number of ‘NO CONTACTLESS’ signs in retail. Despite this more consumers are going completely cardless, using Apple Pay, WeChat Pay, and Google Pay to complete transactions. In a recent study by Paymark and TRA, they found retailers who chose to accept contactless payments enjoyed double the sales growth of merchants who didn’t, as well as double the overall number of transactions. If you are a smaller independent business, these fees might be too high to hide in your overall costs, but this might be a possibility in the future with fee regulation on the horizon. New Zealanders are furiously moving into contactless and it is unlikely to stop regardless of the rate of fees.

“Merchant service fees in New Zealand are too high,” said Greg Harford, general manager of public affairs for Retail NZ. “There’s no obvious reason for charges here to be two or three times more than in Australia or the UK.” Part of the problem was due to lack of regulation of maximum interchange fees, Hartford explained.

“Visa and Mastercard have both taken steps in recent months to reduce some interchange rates, but

8 I July 2018

there hasn’t been enough time to assess how much the interchange reductions have impacted overall merchant service fees paid by retailers,” he said. “We expect that, even with the changes, rates in New Zealand will still be higher than in Australia and the UK.” New Zealand retailers are paying on average 1.2 percent for contactless payments, while in Australia they pay 0.6 percent and 1.2 percent in the UK. In a speech to the Payments NZ Conference last month, Minister of Commerce and Consumer Affairs Kris Faafoi acknowledged that while they adversely impact smaller businesses, both Visa and Mastercard had taken steps in 2018 to make interchange rates fairer.

“I do not think further increases are in the interests of consumers or the wider economy,” Faafoi said. “I have chosen not to go down the route of Australia or the European Union in respect of regulating interchange fees. However, that option remains very much on the table, particularly if I were to see fees increase again.” He also demanded an ongoing commitment from banks and schemes to increase the transparency of costs associated with retail payments and continuing to educate merchants.

A report from the Commerce Commission in 2013 concluded that interchange fees would continue to rise but didn’t find any reason to intervene, opting to

recommend “alternative regulatory intervention.”

Retail NZ estimated the hidden cost of payment systems to be around $380m every year, and forecast a rise to $711 million by 2025. However, the Bankers Association disputes these numbers. “Whether or not retailers choose to pass those costs on to consumers is up to them,” said chief executive Karen ScottHowman. “It’s inaccurate to say that all retailers raise their prices to cover those costs. Some may do so, while others may absorb it as a cost of doing business.” She also noted that countries where fees have been regulated saw no reductions passed on to the consumer.

First Retail Group managing director Chris Wilkinson said that contactless payments were now an expected part of the retail landscape. “It’s expected now and it’s interesting that businesses that don’t have it almost apologetically advertise that they don’t with big signs that say ‘no contactless’,” he said. Wilkinson explained that customers will be frustrated, but in terms of goodwill or their relationship, he doubts that it will have a massive impact. “That said, we’ve supported Retail NZ’s approach to government to look at merchant fees,” Wilkinson said. “As with any cost to our business, merchant fees are factored into our pricing, and are reviewed to look at ways we can continue to offer our customers good value for money.”

trade talks

eet the partners of Platinum Hire is a proud to be a sponsor of New Zealand Fashion Week and has been associated with the event since 2012. With a reputation for state of the art, quality marquees and furniture, Platinum Hire offer a fantastic synergy to an iconic event who’s brand equally represents the same values. When planning your next function or event, go online to view their extensive image gallery or send a request via their website. You can also call them via their free phone to discuss your requirements or to arrange a no obligation free quote.

Call 0508 MARQUEE (0508 627 7833) or visit www.platinumhire.co.nz.

Since 1946, Resene has been New Zealand’s leading paint specialist. In any given street across the country, it’s nearly impossible to find a building untouched by Resene paint.

Filled with innovation, Resene has over the years turned paint into an art form. Its tightly curated range of fashion colours inspires fashion designers and creatives alike.

Retail Design

Full design service for your retail store, including showroom or commercial interior spaces.

In just over a year New Zealand’s most popular buy now, pay later service, Laybuy, has grown rapidly and shows no sign of slowing down. Solving consumers’ dilemma of wanting it or needing it now by providing a payment plan option, Laybuy has acquired just over five percent of New Zealand’s voting population on its database with this number growing by the hundreds daily. Likewise, with Laybuy available at over 2500 store fronts, retailers are loving this hassle-free option as well.

Laybuy stands out from other payment providers with unique functions that make it a dream for both shoppers and merchants to use.

With so much achieved in such a short time and now available in Australia, Laybuy is definitely one to watch.

Retail Fitout

From start to finish we have your retail interior project covered. Services include project management, manufacture, construction and installation.

Shop online, call us or visit our showroom weekdays 9am - 4.30pm. 7 Moa Street Otahuhu Auckland Phone: 0800 474 358 Email: sales@surestyle.co.nz

10 I July 2018

The NZ Industry Training Organisation for Hair, Beauty and Barbering (HITO) will be hosting its annual runway show on Sunday 11:30am. Award winning HITO hair apprentices will collaborate with established Kiwi designers to put together a runway show where ‘Hair’ is the feature. The show is intended to demonstrate the skill and creativity that HITO apprentices have and allow the audience to see their influence and contribution to the fashion industry.

HITO will also be collaborating with the NZ Beauty Association in the Beauty Hub, with an activation that will run all weekend demonstrating the expert knowledge and useful advice that beauty therapists who are qualified can give.

NZ Post is an Elite Partner of New Zealand Fashion Week. NZ Post helps everyone receive their fashion parcels first time with its delivery choices too. Parcel Leave, Parcel Collect and Parcel Redirect are designed to help you avoid missing your parcels.

With over 170 years of experience in mail, parcel and logistics management, New Zealand Post brings a wealth of experience to the New Zealand fashion industry, providing the support and know-how to help businesses grow.

Retail Display

We are the leading supplier for retail displays including garment racks, hangers mannequins, slatpanel…. and much more!

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in detail

Wynn Hamlyn HALLUCINOGÉNE

Available from December, Wynn Hamlyn’s Resort 2019 collection explores behavioural modification research. Made in New Zealand, Hamlyn’s point of difference is elements of craft and workmanship in each garment. Boasting a healthy 40-piece collection which feature carefully constructed details such as basket stitch edging on the tailoring, original prints, and hand-made acetate toggle buttons. The base palette is made up of browns, reds, lavender, and houndstooth. Referencing classic uniform-esk colours of the 1960’s. Hallucinogenic neon colours illustrate the original print found throughout the collection. His most popular styles and pieces make a reappearance which includes their classic fitted trouser and Hamlyn’s high neck t-shirt.

Hallucinogéne started when Hamlyn researched the American government experimenting with LSD in the 1960’s. “I found the whole story of the experiment so bazaar and interesting, and the aesthetics of the time and subject to be equally so,” said designer Wynn Crawshaw. “They thought it [LSD] could give agents enhanced brain power.” Hallucinogéne plays on the contrast between 1960’s bureau uniform and acid trip artwork, which sums up the experiment flawlessly.

For enquiries or to make an order, email Jo Knight at jo@knightcollective.com.

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I 11

ILLS RACighHt-yeEar-oLld M Rachel Mills

Twenty-e rself ’ comes from a very ‘do it you ,a atia Or family. Mills grew up in rts ski out the on y quiet communit ere she wh , ges Ran ere itak Wa of the versity. lived until she went to uni doors few a d live nts are Her grandp mon com s down from her, and it wa ple peo pay to not ily for the Mills fam ned lear e “W m. the for ngs to do thi said. “I to do them ourselves,” she that nts are ndp gra think it was my ily.” fam our in ues val se the d instille ep, she h wit d fille Her childhood was bles, eta veg n row e-g hom ts, horses, goa . Her flowers, and home baking pers jum t kni uld grandmother wo n ow her m fro ol wo the out of d, she wa had sheep, that she . self her n spu and dyed “My gran recently gifted me her old leatherwork tools, including some my grandad had built for her.” Growing out of her very sheltered primary school years in Oratia, her world was turned upside down when she attended Bruce McLaren Intermediate and Avondale College. “I was introduced to all different types of cultures and social

12 I July 2018

r was and to differences.” Mills’ mothe teacher at ing sew the l this day is stil ate, and her Bruce McLaren Intermedi tar teacher gui l sica father was the clas a year of er Aft e. lleg Co le at Avonda realised lls Mi graphic design at AUT, time ing hav sed mis how much she she so lly, sica phy ngs thi ke to ma jumped ship to fashion. ced When asked what influen t it is tha lied rep lls Mi , ces pie her stion always such a difficult que uitively. int s ign des she as to answer books or or s “I don’t hunt out movie nk it thi I . me e pir ins individuals to ndings rou sur t stan con my re is mo of popular and my own consumption me und aro ple peo the culture and p me kee to er eth tog rge me t tha ent of her going.” Growing up, the ext knowledge of fashion was extremely limited. Mills recalls telling her father that she wanted to be a dressmaker when she grew up, and he seemed so proud. “I didn’t really know what other options were available within fashion, but one thing led to the other, and I ended

one front and one back.” at up pursuing a job that I While studying, Mills interned re whe d klan knew would make me Auc in e tiqu Bou ie Jaim and more technically skilled, she worked closely with Jaimie own my e local the g agin in order to mak man on Di her mother n itio pos this work the best I possibly in was It . tion duc pro local the of lot could.” No single event or a w that she got to kno ch whi , sers item sparked her interest pres and ers mak cutters, in fashion, it just always ame valuable knowledge for bec d. seemed to be what she when she started her own bran ted star ls was enjoying doing. She Mil n whe ly, nate ortu Unf kers wor out would spend her weekends se her label, a lot of tho “It ng. drawing and figuring out rati ope er were no long y how to make them come shows how quickly our industr her t por sup to life, and if her mot the is diminishing and were too busy to help her, we need to help to revive it!” she would teach herself.

After graduating, Mills “A lot of what I know did a short internship at now was based on trial Karen Walker, and at and error.” this point, her technical One of the first knowledge was still garments Mills ever made somewhat limited. The was a swimsuit when she pattern makers Mills was around six years old. was working with Her mother had a fabric could see how keen box that flaunted pink she was to learn and lycra that had caught they ended up offering her eye. After asking her a maternity cover permission to use the contract which then fabric, Mills remembers became permanent. During into the cutting out the shapes straight her time at Karen Walker, she a t-shirt material, a front and a back of took in everything she could. came shape and a shorts shape. “Mum “We had an amazing head was and e don had I t wha saw and up pattern maker, Jean Peters, middle furious I had cut right into the who played such a big part nt very of the fabric,” she added. “I lear in helping me become a fabric, quickly to be economical with more confident pattern just and that a t-shirt needs more than

mam kear.k”er.W ” henheM n ilM lsft her own W leto ft to business lsille focfo uscuosn , terrified that she she was absolute on understa wouldn’t work to ly n su g to edit y d how started h pport herself. O et enough o u e n designs. r own kept com r business, the w ce she “In term ork just ing in. M s of techn that she ic thinks to ills explained of patte al skills such as m rn ake bold lea there wa making, moves, commu ving a job you sn nicates to love, emphas ’t a lot of confiden others th is t a universit on this at freelanc in your abilitie t you are y. s. Most e work M you ofte However, of her through ills has b n wo een degree to need the fashion rd of mouth. Th done industry e local she adde get the job,” is so d. “ two deg rees of s small there ar m uch mo I learnt so e eparatio everyon n betwe years at re in my five e. en Ka The adv than I c ren Walker ould ha media h antage of social ve ever imagine as d, label an impacted Mills was with and most of it d the cla ’ in the fi sses she “It’s ma rst y One of runs de her mos ear.” possible it so much mor . a c t signific c o mplis e to ant contact be in direct her pres hments was with cus e n ta ti on at N tomers, rather th Zealand ew an F through having to go year wh ashion Week la a second ere the r st esp fork out o overwhe the over utlet or lming. G onse was heads fo a physic August, oing into r al sp M new pie ills is putting s When it ace.” ce om New Ze s together in tim e formal e comes to aland Fa ducation e for sh figuring fashion, in out how ion Week and Mills be is crucia lieves th more of to comm is l her valu un to desig when it comes e S s h through icate e is also p n. S this. a r ti c designer he said that u m larly bu oment a s are stu s y s at a bb think th Attributi freelance patte the eir way orn and r n n g maker. a ll o f do towards o somethin hard wo f her success g is the ing r M k b and per ills is no est way. Mil ls b for thin t the type to sit severance, essentia elieves it’s g s and w to l to happen. things to “Don’t w ait be critic learn to h a p p ait fo al a en. make it take crit nd to happen Go out there an r icism in fo d out who r yourse an educatio lf y nal settin and why ou want to be w . Figure g or – then w and to in.” ork out king for your wa y

Imagery by Jinki Cambronero

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I 13

model talks

Freja Wang

Twenty-three-year-old Freja Wang pursued modelling after being interested in it for a long time. Now a model for BINTANG MODELS almost a year, she has concentrated on building her career.

This year, Wang was lucky enough to be chosen to be the ambassador of Sky City’s 2018 Lunar Chinese New Year.

Now with her mother agency Bintang Models, highlights of her career thus far were going to China, being featured on the cover of Chinese Eye Magazine (a New Zealand publication), walking for Zambesi, Andrea Moore and Resene’s Designer Selection show at New Zealand Fashion Week 2017. Another highlight was being featured in Trelise Cooper’s HOLY CHIC campaign.

Wang is working hard to create more opportunities for her modelling career. “To be great in modelling, you have to be confident inside out and always look professional,” added Wang. Her favourite part of the job is being in front of the camera and walking down the runway. Every job is different for Wang and each has its own challenges which she faces head on.

Wang finds herself inspired by her friends. If she wasn’t a model, she would be very interested in working in an art field. In the future, Wang looks forward to going to university, but at the moment she will continue to gain more experiences in the fashion industry.

beauty spot

THE POWER OF NATURE Established earlier this year, Jema Rose Skincare combines natural ingredients with advanced technology. The team of ten at Jema Rose Skincare believe in harnessing the power of nature and when it comes to skin treatment, they understand that beautiful skin and true radiance can only come from healthy dermal cells.

Packed with nourishing ingredients, their unique face masks are paired with the latest technology to maximise your skin’s natural strength. The result?

Smooth, healthy, rejuvenated skin – every day.

Utilising corneum targeting permeate technology and fresh extraction technology, Jema Rose has created two face masks using micro plant fibres and 3D design mask sheets. Each mask is produced under strict quality control to ensure top quality.

Did you know that dehydration causes 95 percent of skin problems? Jema Rose specifically chose hydrating facial masks as their first two products to solve this problem. The 8+ Minute Facial Mask profoundly penetrates the skin effectively and quickly. Customer experience is a top priority at Jema Rose, every aspect of the products has been designed to create a soothing and fun experience. Their advanced formula

14 I July 2018

includes hyaluronic acid which makes skins soft, plump and pillowy, as well as reducing lines and wrinkles. Hyaluronic acid works on any skin type, especially oily, sensitive or breakout-prone skin.

The Replenishing Hydration Mask’s key ingredients are hyaluronic acid, tuber magnatum extract, hydrolysed silk, caviar extract, Glycyrrhizate, and tremella fuciformis. Whereas the Luminous Whitening Mask’s core elements include hyaluronic acid, Hamamelis Virginiana extract, vitamin e, arbutin, cladosiphon okamuranus extract, and glycyrrhizate.

While you might not be familiar with some of these ingredients, Jema Rose Skincare products are 100 percent alcohol-free, paraben free, silicone free, synthetic pigment free, glucocorticoid free, and fluorescent agent free.

Jema Rose Skincare’s 8+ MINUTE Replenishing Hydration Mask and Luminous Whitening Mask help modern women have a simple and effective skincare experience. This year they are planning on expanding their range to ten pieces. Their goal is to become the number one facial masks across Australasia.

For more information or to become a stockist, email info@jemarose.co.nz.

Runway Ready?

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I 15

colour trending

This year’s Resene NZ Fashion Tech Colour of Fashion saw students embrace silk. For the fifth year running the high-flying students were given the treacherous task of creating a look in just four weeks using the extraordinary silk in Resene’s hottest in season paint colours. From 35, the top 17 were selected by the judges to show at the Resene Designer Runway show at New Zealand Fashion Week.

MAKYLA ATA Resene Bullseye CHEYENNE FORD Resene Galliano AMBER STERRITT Resene Impromptu CLAUDIA OSNER Resene Dell

ISABELLE YOUNG Resene Blue Moon

KATE DURKIN Resene Maestro

KELLY SPENCE Resene Pukeko GRACY CONDRATOV Resene Scrumptious

his year’s brief took the designers creative processes into the contemporary world of colour and design, embodying uplifting themes of feminine empowerment and breaking conventions.

20-year-old designer Isabelle Young took inspiration from Mary Poppins when designing her tiered feminine flowing dress. A silk in Resene Blue Moon was chosen as the choice of colour because it is fair and mysterious much like a beautiful nanny who appears in the sky when she is most needed.

The swinging sixties came to life in designer Kelly Spence’s ensemble for this year’s competition. This period fought to bring down social barriers and loosen more traditional social constructs. With influences from Yves Saint Laurent’s 1965 Mondrian collection, Spence designed a traditional A-Line shift dress in Resene Pukeko as the tone reminded her of her childhood spent chasing the bright coloured bird around the creek near her home.

The curved lines and floral fixtures of the Art Nouveau period inspired design student Gracy Condratov of Wellington to create a feminine outfit that would make people feel “scrumptious”. The low cut neckline juxtaposes the more retro wide leg trousers creating the perfect marriage between traditional and modern. The use of the colour Resene Scrumptious is an ideal choice, making the garment pop in bright pink and standout in a crowd.

Designer Amber Sterritt took a trip back to the future when designing her outfit for the Resene NZ Fashion Tech Colour of Fashion competition.

Geometric shapes, harsh lines and sharp angles created a futuristic aesthetic. Sterritt chose Resene Impromptu to highlight the space age vibes while also hinting at the neon signs that surround New York’s Times Square.

Feminism was a strong theme seen throughout the designs. Taking inspiration from Uma Thurman’s famous costume from Kill Bill, designer Cheyenne Ford chose Resene Galliano. The colour yellow references joy and warmth, a strong contrast to Thurman’s character from the film.

Rolling hills, grassy banks and valleys were the influences behind eco-warrior Claudia Osner’s 2018 design. The bell sleeved pleated assemble in the colour Resene Dell helped to symbolise the lushness and abundance of Mother Nature. “I hope to be a designer who cares for the environment while doing what I love,” Osner said.

We’re breaking free with designer Makyla Ata’s Paris glitterati design. The bound bodice is laced on either side with ties allowing the dress to unfold creating a whole different look. A crimson red was used in Resene Bullseye, giving the wearer permission to channel their inner Parisienne.

A silk in the colour Resene Maestro was used by student Kate Durkin to reflect the structure and shape of New York’s Chrysler building. Using sharp triangular lines and curved forms, Durkin wanted to create a distinguished, sexy and sophisticated figure.

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I 17

radar

ATHLEISUREWEAR

SOLO NEW YORK Known for its functional yet fashionable designs, Solo New York is one of the fastest growing urban lifestyle brands. The durable bags are designed with purpose at the company’s headquarters in New York City and can be found hanging from the shoulders of urban creatives and professionals worldwide.

Their latest collection is perfect for hitting the gym, travelling or just everyday use.

Featuring ultra-lightweight bags, each piece is designed with smooth nylon fabric for all-day, everyday use.

Like all Solo New York bags, the new Varsity Collection offers separate compartments for daily essentials like laptops and other accessories. This collection boasts four hero products with names influenced by their collegiate sports; Peak, Elite, Draft, and the AllStar Hybrid. Each style has a unique take on the backpack. The Peak has is an ultra-lightweight casual day pack with a simple yet sturdy design. Draft is your to-and-from street-savvy pack which keeps you organised with its added pockets, and padded back and straps for comfort. For the young professional, Elite is always on the go, its sleek design can hold a 17” laptop comfortably along with any other electronics, and has a separate compartment for your gym or evening wear. The All-Star Hybrid is a backpack/duffel that is stressfree. This lightweight bag won’t weigh you down and its versatility offers a spacious interior and precise organisation.

For more information visit www.solo-ny.com.

18 I July 2018

ROSE ROAD Annabelle Rose started activewear label Rose Road in March 2016, but it wasn’t until a year later that her garments were finally on sale. “We spent a year sourcing fabric, designing prints, road testing samples and finding quality ethical manufacturers.

Rose is a graphic designer by trade and loves prints and vibrant colours. “I found most activewear offerings to be void of such things,” she explained. Rose started out by making a couple of pairs for herself and as popularity grew between her friends and family she decided to expand. This resulted in her expanding the print run by a few hundred. Her most recent collection consists of six designs in two lengths of tights. Rose Road’s team is very small, with just Rose situated in New Zealand designing the prints and running the business, and her manufacturers are a small team of seamstresses located in Bali. The origin of the label’s name was a coincidence of her last name and the street, Rose Road, that she was living on while creating the brand. “In a way, it refers to my journey of owning and starting a business.” Moving forward, Rose has finished the designs and sampling for their forward season collection and is in negotiations for selling the business.

For more information or to become a stockist email hello@roseroad.co.

KORAL

“Unfortunately, when it came to shopping for workout gear, I found racks of ill-fitting leggings and sports bras that felt neither feminine nor fashionable.”

With a thorough understanding of the female form through her experience in swimwear design, Kugal set out to create activewear that harmonised fashion, form and fitness.

It was also in Los Angeles that she met her business partner and industry expert Peter Koral. With Koral’s sharp intuition, he knew Kugel’s sophisticated edge combined with her understanding of function, fabrics, and form would elevate activewear as we know it and propel activewear into the spotlight of fashion.

In 2014, Koral launched its first collection of edgy, feminine silhouettes made from their signature line of high-tech fabrics.

Through a design-with-purpose approach, the luxurious athleisure pieces balance technical innovation and iconic designs to fit the active lifestyle of today’s modern woman.

Koral can be found in high-end retailers such as Bandier, Revolve, Saks Fifth Avenue, Neiman Marcus, SHOPBOP, Harrods, Nordstrom, The Iconic, Selfridges & Co, and many more.

Their mission is to create fashionforward activewear that is designed to empower women to live, look and feel their best. “In a world where you can be anything, be unstoppable.”

For more information or to internationalfashiongroup.com.au.

What do Kourtney Kardashian, Taylor Swift and Chrissy Tiegen have in common? They’re all celebrities and they all have been spotted wearing Koral.

The popular activewear brand was the brainchild of Ilana Kugel who was inspired to infuse her Brazilian native roots into activewear. Born and raised on the spirited beaches and diverse streets of Rio de Janeiro, Kugel was heavily influenced by sensual, organic shapes of the lush inland to the sleek lines of Rio’s modern architecture.

Determined to make her mark on fashion, Kugel pursued an education in art and design at Universidade Anhembi Morumbi in São Paulo. In 2006, she uprooted to Los Angeles where she continued her designs and healthy lifestyle.

“Living in an ultra-health-centric city, I learned to balance productivity and wellness as my lifestyle began to evolve,” said founder and creative director Ilana Kugal.

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I 19

nuts and bolts

Born and raised in Christchurch, Courtney Joe’s childhood was a creative one. Filled with singing, dancing, reading, writing and drawing, Joe was one of those kids that tried absolutely everything whether she was good at it or not.

Courtney Joe SHOWROOM MANAGER, SHOWROOM 22

Her mother always encouraged and supported her in everything she did. “Her belief in me helped me build a strong and resilient character,” explained Joe. “I believed that I was and could be capable of anything, that I could excel at anything I put my mind to.”

Joe went on to explain that her mother is even more obsessed with fashion than she is. While her mother is a creative woman, her main outlet is fashion. “I feel like fashion is in my genes.” Her grandmother was also an incredible seamstress and knitter, so when you put Joe’s mother and grandmother together, they were extremely talented with a knack for creating.

From birthday cakes to ball gowns, her mother could achieve anything. “I still remember my Year 13 formal dress. It was a Louis Vuittoninspired silk brocade dress that mum made for me and is still, to this day, one of the best dresses I have ever worn.”

After meeting with her with high school careers counsellor, Joe was determined to work for a fashion magazine. At the time, she had no idea what she would have to study to get there.

The counsellor asked what in particular did she want to do in the magazine, to which Joe replied: “Everything.”

She went on to study a Bachelor of Communication majoring in Journalism Studies at Massey University in Wellington. Massey University was the only university at the time that would allow her to explore both journalism and design at the same time. “I ended up studying fashion design as well and loved every moment of it.” The combination of journalism and fashion prepared Joe for the world of fashion PR; from pitching news stories to understanding how a garment is constructed. “One of the biggest rewards of my job is getting to work with the country’s and world’s best designers and editors every single day.”

Fast forward to 2018; recently Joe was promoted to Showroom Manager at Showroom 22, one of

New Zealand’s premier fashion PR agencies. Her day-to-day tasks have grown dramatically from account management, media engagement and event production to developing overarching PR strategies, overseeing client news and showroom sample movements. “We’re an ideas workshop here – it’s our job to produce unique ideas and pitch engaging stories and content for our clients,” she said. “Finding that balance between what brands need and what brands want.”

Her team is one of her biggest inspirations as no two days are ever the same, and someone is always teaching her something valuable. “Getting to work with your best friends is such a rare thing, and I’m so thankful that I’m able to do so.” During her time at Showroom 22, she has learned to trust her gut instincts, trust her vision, not to sweat the small stuff, and to ask questions. “It’s impossible to get bored working here,” she explained. “There is always something exciting happening, a new challenge around the corner or an unexpected task thrown your way.”

Another highlight she added was seeing a client’s press in print or online.

Before her time at Showroom 22, Joe worked at Karen Walker for two years as the communications assistant in their PR and marketing team.

Joe has noticed in her short time in the industry that fashion commentary is now open to a broader community. “More than ever, fashion is accessible and inclusive,” she explained.

“There is a minimised sense of elitism. Now, everyone has a voice, a platform to share this on.

And that’s what I love. If Instagram means that I can be front row at Chanel from the comfort of my own bed, in real-time too, then I’m all for it.”

Moving forward, Joe never wants to stop learning and hopes to continue to challenge herself. “In an industry that is so fast-paced and ever-changing, it’s important to keep informed to stay relevant.”

More than ever, fashion is accessible and inclusive, there is a minimised sense of elitism. Now, everyone has a voice, a platform to share this on. And that’s what I love if Instagram means that I can be front row at Chanel from the comfort of my own bed, in real-time too, then I’m all for it.

20 I July 2018

tech byte

LET US DO ‘IT’ FOR YOU Latitude IT was established in 1992, and it all started with a CD burner and Windows 3.11. At 12-years old, founder Ash Siddiqui came up with a way for his uncle to digitise his ‘phone book thick’ medical catalogue that was being shipped across the globe, a suggestion that would save thousands on freight.

“It was actually quite fitting because the catalogues were filled with the latest technology in the medical world,” he said.

“Although my uncle was sceptical at first, it was inherently successful, and it grew rapidly after that.” The new digital catalogues offered a lot more information as well, bringing a traditionally 2D format to 3D. As a teenager, his business quickly grew through referrals from digitising medical equipment catalogues to digitising fibreglass car body catalogues to finding a large array of technology solutions for businesses. “Creating solutions is my passion to this day; it just also happens to be my job.”

Mostly self-taught prior to his formal training, Siddiqui said the foundation of his knowledge is logic. The engineer studied software and networking as part of hisbachelor’s degree at Auckland University.

Latitude Solutions offer a range of services and specialise in strategic enablement. This involves one of their ten team members to come into your business to see where your company can utilise technology enabling you to achieve your goals. If you don’t know what your goals are, Siddiqui is more than happy to have a coffee with you and together figure out what they are. Latitude Solutions can provide crucial tools in boosting what you are already

producing whether that is a service or something tangible.

No two clients or problems are ever the same.

Latitude Solutions point of difference is that they customise each client to order and have a wealth of knowledge and experience. They will work to your budget, your way. “We’re all about solutions, IT just happens to be a tool,” said Siddiqui. “We aren’t in IT; we enable business transformations.” Don’t be afraid

that they will completely change the systems you work with; they are more than happy to adapt and develop them. “We don’t do band-aids, we will get you to a safe and reliable place that is in the direction you want to go.”

Latitude Solutions is proudly independent, and their services aren’t transactional, meaning it does not stop and go. “Most importantly, we care. We are experts in our field, and we will look after you.”

fashionable films

ANTMAN AND THE WASP

Back on a mission alongside his new partner, the Wasp, the Ant-Man has to fight an epic battle against a powerful new enemy. To respond to their action-charged lifestyle, the character’s costumes are versatile and practical, made of technologically advanced materials such as rubber tubing, four-way stretch fabric and patent leather. The movie’s wardrobe designer is Louise Frogley, who previously worked on other superhero movies such as Iron Man 3 and Spider-Man: Homecoming.

She has attempted to sharpen the Ant-Man’s fashion sense by using a sleeker aesthetic and fine materials and depict the Wasps’ story through her attire. “Since she was a fugitive most of the time, we were trying to make her clothes such that she’d put them in a small suitcase or backpack so she could be self-contained,” she said.

Her costume shows the fact that she is an independent and determined woman, and needs clothes that allow for these characteristics. Therefore, unlike most women superhero, the Wasp has a somewhat athletic costume paired with wrestling boots, which gives her the freedom for movements and action.

22 I June 2018

SOLO

The Star Wars Anthology film, Solo, explores the early adventures of characters Han Solo and Chewbacca.

The film is considered as the most elaborate regarding its costuming.

Costume designers, Glyn Dillon and David Crossman, have said to be highly inspired by music to create the looks of the latest Star Wars movie.

The main character’s look pulls from rock stars and punk bands with a biker style composed of a jacket, jeans and boots. Lando, the most fashionable character of the film, has a rather diverse and substantial wardrobe inspired by iconic music figures such as Jimi Hendrix and James Brown and what they were like when they were younger. His costumes are bright, colourful and composed of a mix of textures such as silks, wools, furs and leather. Characterised by his capes, his wardrobe, of which we get a glimpse of INCREDIBLES 2 in the movie, is composed of over 33 different capes and 30 different shirts, the most After a 15 year wait and massive expectations, Disney and Pixar have delivered costumes a character has ever had their now grown up audience with the sequel of the 2004 hit by writer-director in a Star Wars movie.

Brad Bird, Incredibles 2. The animated film’s production design is brilliant, and the dynamic and modernity are conveyed through the use of colour, architecture and design.

Incredibles 2 uses fashion as a way to express the character’s personality and does it well.

Three women were part of Pixar’s costume team and worked closely to create the clothes and character designs for the film. Bryn Imagire, shading art director, Fran Kalal, tailoring lead and Deanna Marsigliese, character artist, are behind Edna’s dramatic and bold wardrobe, Evelyn Deavor’s bohemian style and faux-fur composed outfits and Elastigirl’s sexy statement costumes. Inspired by mid-century fashion, contemporary lines and classic Butterick patterns immerses us into the story and makes us believe in the characters even more.

edited

The state of luxury fashion today Luxury fashion is having an identity crisis.

Actually, that’s not true. It’s the luxury market’s observers who are losing the plot over what luxury is today.

The influence of streetwear and the hirings of its best designers in the most luxury of houses–Demna at Balenciaga and Virgil at Louis Vuitton–has seen a surge in headlines questioning the fate of luxury in a time of logo t-shirts and hoodies.

Are raincoats and dad jeans and bulky sneakers really luxury today?

According to market growth, the answer is a resounding yes, with high-end streetwear behind a 5 percent lift in luxury sales last year.

Considering the global sneaker market was up 10 percent in 2017 to $4 billion, it’s fair to say luxury wants a piece of the sizeable pie.

Let’s take a look at the luxury market, both the old school houses and the new entrants to the luxury game.

WHAT IS LUXURY ? WHAT DOES THAT LOOK LIKE ONLINE? The luxury market lagged with its entrance to digital, but now all cylinders are firing.

These are the most super-luxe brands online currently, as judged by the proportion of the offering priced $5,000 or more.

1. Marchesa – 38 percent over $5k 2. Elie Saab – 24 percent over $5k 3. Oscar de la Renta – 11 percent over $5k 4. Hermès – 9 percent over $5k 5. Tom Ford & Brioni – both with 7 percent over $5k Incidentally, Hermès, Elie Saab, Brioni and Tom Ford all have sneakers in their full offering.

This jade ring, retailing at Hong Kong luxury store Lane Crawford, costs $2.4 million dollars. The same sum of money would get you two franchised Taco Bell restaurants opened (or 22 Subway outlets, but let’s focus on luxury).

In fact, Lane Crawford has 54 items currently retailing online for over $500,000 and only begun retailing this super-luxury price point online last September. But it’s not exactly a price point that’s representative of the wider luxury market.

WHAT IS LUXURY PRICING? We can see how starkly different the luxury market is when we look at what proportion of its offering is priced less than $200 compared to every other segment.

Just 20 percent of luxury products currently selling online are priced under $200. That compares to 65 percent of premium, 95 percent of mass and 99.3 percent of value.

Digging deeper into that under $200 range in luxury, you see it’s swimwear, childrenswear, denim and yes, sneakers.

CONSUMER CASUALISATION AND STREETWEAR CHANGING LUXURY You’d be hard pushed to find a luxury retailer that hadn’t increased its sneaker offerings over the last few years.

Ssense has grown its women’s sneaker offerings 146 percent since 2016, Net-a-Porter is up 101 percent, Farfetch 97 percent and Harrods 65 percent. I could go on, but you get the point: across the market, sneakers are up a total of 246 percent since 2014.

However, average sneaker price, which has grown by 4 percent, is behind the 10 percent standard growth across the luxury market between 2014 and 2018.

Puma has increased its luxury presence by 792 percent, Adidas is up 724 percent and Nike has climbed 57 percent. Yep, the sportswear brands and a new wave of luxury competition.

Although 29 percent of luxury footwear is in the sneaker category, it still means the majority of luxury shoes are not for sports!

THEN THERE’S THE APPARENT DEATH OF THE ‘IT’ BAG The luxury bag market is reportedly shifting too – with consumers turning away from the seasonal ‘It’ bag.

A dig into some pricing data shows some bluff there. The below chart shows how pricing emphasis has shifted very little in the last four years, particularly at the sub-$400 end, accused of stealing the luxe market.

brands like Off-White, Cult Gaia, Les Petits Joueurs, don’t yet make it into the top 40 most-stocked brands, Though Off-White is the 10th best-selling bag brand so far this June.

Mansur Gavriel is an exception – now the 19th most-stocked brand in the category with an average price point of $808.70, founded just six year ago.

TO STREET OR NOT TO STREET? ‘New luxury’ doesn’t really exist, or rather, fashion markets are continuously reinventing and embracing newness. Any brand or retailer that hasn’t done that has come unstuck, as has been well-documented in recent years.

Streetwear does operate a little differently, and its characteristics are influencing the market. But street style ‘drops’ are luxury – they require you to have some kind of capital. It’s just that capital has shifted from finances to knowledge and/or social capital. So given that a product’s exclusive price is no longer the draw card of luxury, the market is reliant on focusing on brand.

The best brands and retailers aren’t fighting that, they’re embracing it. In the last three months mentions of the word ‘heritage’ have been up 40 percent in retailers newsletters compared to the same time last year.

Barneys is collaborating with Highsnobiety on ‘The Drop’ hosting street-heavy retail events in NYC and this month in LA. Bergdorf Goodman too has entered the fray, collaborating with Kith on a range of entirely sold-out apparel.

MAKE WAY FOR THE YOUNGSTERS?

There has been growth at $400-800, but that is matched by growth above $2,000.

The key difference in the market is who the biggest players are. The five brands shown have had a stronghold on the luxury market online in the last few years. But their ranking in relation to one another has shifted dramatically.

We can very clearly chart Gucci’s rise from fifth place in 2015, to first this quarter. And it looks like that has come at the cost of Saint Laurent, which enjoyed a high point in 2016, but crashed to third place at the end of last year.

Meanwhile, the so-called disruptors of luxury bags,

Bain & Co say millennials and Gen Z will account for 45 percent of the luxury market by 2025. But, eight years from now that puts that consumer groups average age at 31 – not all that different from the current luxury average of 34.

It’s not that luxury is about to be hit by an onslaught of teen tastes – instead the shifts are in the values and priorities of these consumers. They have grown up around digital, they celebrate diversity, can detect authenticity at 1,000 feet and have unmatched geographic mobility.

The industry shouldn’t waste time worrying that t-shirts are the new luxury. It’s true that they make up a part of an increasingly complex market.

But instead, let’s focus on polishing up brand story and product and price differentiation for the new consumer.

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I 23

photoshoot BROOKE WEARS THE KNITTER BUBBLEGUM IN PINK SOPHIE SCALLY SILK PANTS DR MARTENS WHITE BROGUES

24 I July 2018

HELENA WEARS SOPHIE SCALLY MI PIACI BECCA LONG BOOTS BROOKE WEARS SOPHIE SCALLY MI PIACI RIO ANKLE BOOTS

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I 25

HELENA WEARS SOPHIE SCALLY SUIT

MODELS: BROOKE AND HELELNA FROM 62 MODELS

26 I July 2018

BEAUTY: CHANELLE VAN T VEEN

PHOTOS: CAITLAN MITCHELL

student life

SOPHIE SCALLY WHITECLIFFE Sophie Scally grew up surrounded by fashion. Her parents import fashion accessories and sell them all over the country, and through this, she has always had a natural flair for fashion. Scally studied at Baradene College in Auckland where she did all the art classes that were available. It was brands such as Céline, Ellery and Issey Miyake which inspired her to pursue her love of fashion and she enrolled at Whitecliffe College of Arts and Design, graduating in 2017.

Scally uses textiles and fabrication to juxtapose conventional ideas of masculinity and femininity, a practice which features heavily in ‘Formation,’ her end-of-year minimalist collection inspired by New Zealand’s Waitomo region and glow-worm caves.

While Scally presented eight looks, there is one of which she is particularly proud.

“The highlight of my collection would be my final look, a one-shoulder dress layered with flounces.

My garments are designed for women that feed off simplistic work apparel; an attire prepared to adapt to any arising circumstances. There is a focus on developing a uniform, giving the consumer one less sartorial decision to make when it’s a chaotic morning for a working woman.”

For her graduate collection, Scally chose to develop a brand around her initials – SS. “Starting this brand gave me the opportunity to not only make beautiful clothing but to look at it in terms of a business,” she said. “My decision to invest in a brand as part of my practice last year creates an identity platform and communicates to the industry my dreams of operating my own brand after getting years of

industry experience. The brand’s ethos has organically developed from my subconscious desires as a woman.”

As a designer, Scally is also focused on creating an awareness of the emerging era of sustainable textiles and techniques. “My designs have the fundamental attributes of longevity, timeless modernity and versatile tailoring, eliminating the possibility of any excess waste,” she explained. “My garments are constructed with couture methodology, designed for women that feed off simplistic work attire; apparel prepared to adapt to any arising circumstances. I hope to put forward a powerful and innovative contribution to the future of fashion.”

For Scally, sewing and designing can’t exist without the other. “Once you learn the basic skills of sewing, it gives you a better understanding of how garments are constructed, which leads to being able to experiment and break the boundaries of ordinary fashion. I find sewing very therapeutic and being able to express my creativity through a garment is always exciting.”

Scally wants to get industry experience before she can confidently pursue her dream of owning her own label. She has previously interned at Hawes and Freer and currently works as a production assistant for Karen Walker. She works with factories, both in New Zealand and overseas, making sure all the garments are made perfectly and on time. “I’m embracing all the opportunities I have been given,” she said. “From gathering this invaluable experience, I plan to pursue a fashion career overseas, hoping to work for high-end designers like Celine.”

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I 27

edited

CO-ORDINATES STRIPES ARE LIFE You wouldn’t be wrong in thinking stripes are never really off the menswear table, but new arrivals are up 3.6 percent in the last three months (compared to last year) and sell outs are up 12 percent on last year. The average price on striped items has also grown by 14 percent.

And showing that stripewearing is getting bolder: striped pant sell outs have grown by 41 percent and outerwear by 56 percent.

Seven menswear trends with staying power

Matchy-matchy gets totally catchy! Co-ord sets are on the increase – new arrivals are up 66 percent this Spring, following Gucci’s lead (again).

With its complete look in two garments, this trend taps into the ease of the sportswear aesthetic so popular right now. There’s also an irreverence to it that fits in well with the ironic normcore look. If printed sets are too much for your customer, why not try tonal pairings that encourage your shopper to lift their spend?

GRANDAD COLLAR Same garment, totally different vibe. The grandad collar shirt has that puritanical feel, it riffs on classic workwear and when done in linens for summer it’s an ideal way to dress down the trending tailoring. In the last three months new arrivals of this shape have climbed 7.5 percent and sell outs are up 37.5 percent – again, consumer demand is growing faster than the garment’s retail presence.

Currently, with a price average of $129.48, the brands with the highest number of styles are ASOS Design, Selected Homme and Mango. But showing up on London’s Spring 2019 runways cements the designer appeal of this shape. Phoebe English’s take, with a longer tunic-line, gives the garment a contemporary update. Keep this piece in the offering through Fall with heavier weight linens and brushed cottons.

BRANDED SOCKS Dad vibes rule again. No more of that sneaker-liner minimalism, logo’d tube socks are winning. Here’s how the show goers are dressing their ankles; this one is such a no-brainer for a brand.

Tapping into streetwear popularity, Tommy Hilfiger has launched its Pride collection sock and Gucci’s $120 logo socks sell like hotcakes.

SILK SHIRT Get elegant with a silk shirt in your assortment. Luxury new arrivals were up 80 percent in the last three months, compared to last year, and sell outs climbed 87 percent. Of course, it’s Gucci leading. A print will make this piece seem more lighthearted than seedy Lothario – Giorgio Armani’s are ruling the Spring 2019 runways so far.

TRANSPARENCY, LITERALLY You might have noticed the transparent bag trend in womenswear recently. Well it’s crossing over to menswear. Sheer fabrics and transparent plastics are achingly cool – they’re a bit festival, a bit street and a bit Off-White for Rimowa.

Pushing up the cool credentials is the Opening Cermony x Rains raincoat collaboration and Raf Simons’ semi-sheer Joy Division tops. Here’s how that looks on the runway for Spring 2019, with technical outerwear and accessories being the easiest way to tap into the trend. Sure, you may not be about to deck your male shopper out in head-to-toe iridescent plastic. But let the market leaders shake things up a little. We’re seeing a broader range of colors open up for menswear, the increased presence of metallics in accessories and who knows, eventually even the lustrous finish to that button down will feel a whole lot more achievable for the Average Joe.

28 I July 2018

TAILORING COMEBACK Maybe it’s thanks to Gucci, but there’s a dandy resurgence in the air. As a contrast against the super-casual sportswear consumers are so used to shopping for every occasion, we’re seeing the increasing presence of the suit on street style stars and Instagram influencers.

Retailers like Suit Supply are driving that growth, making affordable tailoring accessible to a wider range of consumers across its 100-store (and growing) network.

ASOS has had success with its tuxedo styling, super skinny pants, pastel colors and floral print blazers. Even a grey crushed velvet required no discounting to sell.

At Farfetch, classic two-piece sets in greys, as well as a more relaxed shape in slubby linens are performing well for brands like Thom Browne, Gieves & Hawkes and Gucci.

We aren’t expecting this to topple more casual styles of dress out of favour, but it does offer different character for the more invested menswear shopper. He’ll be wearing suiting for eveningwear in bright colors. For Fall 2019 think emerald greens, rich wine shades and camel. And with an increasing demand for suiting comes a refocusing on formal footwear (brogues, monks straps and loafers have been spotted in street style recently) and dapper accessories.

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