Apparel Magazine | December/January 2019

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DECEMBER/JANUARY 2019 I VOL 52 I NO 01

CLASS OF 2018 pg.10

editor ’ s note

THE BUSINESS OF FASHION

As the year comes to an end it is an exciting time as the pool of graduates come into the market. The demand for fashion education is ever-increasing and in some cases, enrollment has tripled. With this huge growth in fashion graduates over the past decade, where are they all going? A lot of graduate students I have spoken to over the years have said they loved their years studying but have struggled to jump into business afterwards. Does this mean it is well past time that the courses are altered rather than studying solely design?

While some tertiary providers focus on design/ designer development or technical skills, are we missing the business side? Much like how in high school no one learned how to do taxes, are we missing the mark when it comes to a rounded education for the next generation of designers? We are producing a strong herd of talented designers, but we are not giving them the full tool kit to succeed in business.

Most graduates are leaving unprepared for the realities of job placement and business development.

The London College of Fashion established a new Fashion Business School this year, integrating design and industry developments with business to support a fashion entrepreneurship. Perhaps it is time that we do the same.

Internships are not enough anymore; a serious crash course in business is needed.

In a saturated market, design jobs are few and far between, leaving our next gen designers no choice but to move overseas taking their talent with them. Or, even worse, they take a job not in their field of study. I met a barista the other day who had a Masters’ degree in fashion.

Fashion graduates may be satisfied with their learning curve during their degree, but there remains a significant gap in the business side of the industry. How can our tertiary providers evolve their course offerings to create successful entrepreneurs and not just creatives? I believe that more emphasis is needed on specific roles in the industry; not everyone can run an effective business and not everyone can sew a straight line. Perhaps the underlying root of this global fashion education issue lies in TV shows such as Project Runway or The Fashion

Fund, leading graduates to just see design as the only job available. The fact is that over 80 percent of graduates will not work as designers.

Earlier in the year at the World Footwear Congress, global tertiary providers gathered to discuss the future of the courses they provide. The biggest problems being ‘how to make the other jobs sexy’ and how to integrate a business degree into design courses. Caroline Rush, chief executive of the British Fashion Council told BOF that today if you went to a high school adviser and said you wanted to work in fashion, you’d get two options: designer or retail. “They don’t understand all of the other roles that go around that,” said Rush. “You end up with this vicious cycle where you’ve got young people who think that they want to be a designer, when actually their skills might be better suited to a different role. Either a skills-based role or management or administration work.”

The fact is, fashion is an ever-evolving beast and new generations will have to take charge to remould it to suit them. New designers know consumers are getting smarter and want to be more ecoconscious, but these same designers are left with the biggest challenge of all – making money in a low margin market.

Business skills and an entrepreneurial mindset is crucial to setting up a successful career.

Apparel Magazine is excited to be entering its 50th anniversary this year. I am proud to say that we are still a family owned and operated business since my father, Peter Mitchell, established the magazine in 1969.

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

Caroline Boe - caroline@reviewmags.com EDITORIAL TEAM Alan Higgs

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2 I December/January 2019

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.

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Brutally Honest

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I3

fast five

CHOCOLATE FASHION

Lyon, the chocolate capital of France, was host to the eighth edition of Salon du Chocolat. The event celebrated desserts and fashion, as designers and chefs came together to put on a fabulous chocolate

fashion show that stretched over five days.

Chefs and designers teamed up to create stunning artistic displays and the event features over 500 participants from around the world.

Some of the designers who represented the fashion industry in this year’s event were Tae Ashida, Nicolas Fafiotte, Ludivine Guilot and Jean-Paul

Benielli.

The event celebrated creative innovation, merging two visionary industries together to create a show which challenged the audience’s perceptions of both the fashion and chocolate world. The event drew thousands of visitors and was a great success for sweet and style enthusiasts.

H&M TO OPEN NEW STORE IN TAURUNGA

Retail giant H&M is preparing to open their fifth store in New Zealand. This expansion will take place at the Tauranga Crossing, a shopping hotspot for the Bay of Plenty region. H&M first came to New Zealand in 2016, opening their first store in the Sylvia Park Mall in Auckland. The opening drew close to 1,000 shoppers on its opening day and was one of the most anticipated retail launches of the year.

Tauranga Crossing initially opened in September this year and has become home to an extensive collection of outlets. H&M will join Ezibuy, Farmers and a variety of other retail stores in the mall development in April 2019. The fashion retailer is known

REINVENTING ECO-FRIENDLY Michael Preysman has reinvented what it means to run an eco-friendly fashion business. His brand Everlane promises ‘radical transparency’ to its consumers and has incorporated eco-friendly practices into every aspect of the business.

The latest addition to the brand is clothing made from recycled bottles. Everlane’s line of plastic parker and puffer jackets are a part of its new outwear collection ReNew. ReNew has sourced approximately three million plastic water bottles from landfills and beaches to be repurposed for fashion innovation. The bottles are sorted by colour, sanitised and melted until they can be spun into a fine yarn which is then used to create Preysman’s sleek designs.

Everlane is not the first brand to utilise recycled

4 I December/January 2019

plastic in their designs, companies such as Adidas and Girlfriend Collective also include recycled materials throughout their collections. However, Everlane has demonstrated a commitment to one-up any environmental competitors and has pledged to remove all virgin plastic from supply chain within the next three years. Environmental consciousness comes at a cost, using recycled water bottles as opposed to synthetic fabrics has resulted in a 10 percent increase in costs for the brand. But Preysman is dedicated to environmental sustainability fashion, and the ReNew collection is only the beginning of a bright and eco-friendly future for the company.

for offering on-trend ensembles and quality basics for consumers on a budget. The new store will feature a variety of brands under the H&M group, including COS, Monki and ARKET. Fashion enthusiasts in the Bay of Plenty region are happy that the international giant is preparing to set up camp in their city. While The H&M Group is eager to take advantage of the economic growth potential it sees in the small New Zealand city. The population growth for Tauranga has been strong over recent years, which bodes well for the new retailer. In addition, over 50 new jobs are expected to become available as a result of the store’s expansion.

VERSATILE. BOLD. LUXURY. Cardi B has demonstrated her entrepreneurial prowess once again as her line with Fashion Nova has proved to be a resounding success.

The young artist has made considerable waves in the music industry since her debut in reggae fusion singer Shaggy’s 2015 remix of ‘Boom Boom’. She has gone on to be immensely successful, with her latest album Invasion of Privacy being certified double platinum by the RIAA. Cardi B’s latest endeavour was a partnership with online style giant Fashion Nova. The young rapper collaborated with the brand and released a line of chic clothing and accessories, which featured over 80 different items to appeal to the everyday style-conscious woman.

“I know a lot of people can’t afford expensive-ass sh*t…so everything is gonna be affordable. I want people to look good and high end within a good budget price,” said the singer with her signature swagger.

The line mixed luxury with bold street style and created a versatile collection which captured the spirit and youth of Cardi B. The collection had a stunning debut and sold out within hours of its launch.

Cardi B has continued to speak extremely positively about her collaboration, having praised Fashion Nova for giving her the freedom to design what she loves. The singer also shared, to fans who missed out, that a restock is on the way and the line will become available again.

KATHRYN WILSON’S CHARITY GARMENT Women’s footwear brand Kathryn Wilson is teaming up once again with the Ronald McDonald House Charity New Zealand to raise money for families with sick children.

Wilson has released a limited edition set of sweaters inspired by her SS18 range. The range was made in collaboration with the Nope Sisters who are renowned for the strong social messages they incorporate in their apparel designs. The Wellington-based sister design duo has tackled issues such as sexual abuse, youth suicide and breast cancer awareness in their previous designs, and this new partnership is very much in touch with their brand's mission. The new collection has been manufactured by a sustainable Canadian outlet which was hand chosen for the project by the Nope Sisters, who feel strongly about sustainable processes and renewable energy.

The sweaters come in four bold colours: navy, white,

pink and grey, and the collection is limited to 100 pieces. The sweaters retail at $150, and $50 from each sweater will be donated to the Ronald McDonald House Charity. Wilson will be raising $5,000 for families in need, which is sure to brighten up the festive period for those who are suffering.

Wilson has been an ambassador for the Ronald McDonald House Charity for many years and has contributed to a variety of auctions and catwalk events to raise money and awareness for the organization. “I’m always so pleased to work the Ronald McDonald House.

Being able to contribute to giving children staying at the Ronald McDonald House and their families a Christmas experience or a special treat is something we are honoured to support,” she said.

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I5

fashionable films

MORTAL ENGINES

THE GIRL IN THE SPIDER'S WEB

Universal’s Mortal Engines is a live-action adaptation of Philip Reeve’s bestselling dystopian book series. Thousands of years after civilization was left in ruin by a cataclysmic event, humanity lives in wastelands and ruins, as gigantic moving cities roam the earth in search of blood.

Costume designers Bob Buck and Kate Hawley enlisted the help of ‘Breakdown Artists’ Sonya Murray and Hamish Brown to create a recycled aesthetic for the characters costuming. The breakdown-duo used a variety of creative techniques to add age and texture to the different costumes. The result was a wardrobe which appeared worn and neglected and fit perfectly within the films grim setting.

The process included creating mixtures of water, dirt and paint to be lathered on the clothing, as well as tearing and even burning the sturdier garments to create an extremely aged appearance. In an interview with Universal, Murray elaborated upon the importance of ageing the costumes. “It is to remind the audience that the world that was doesn’t exist anymore,” said Murray. “Even the most well-to-do characters are wearing very, very old clothes,” added Brown.

The breakdown process Murray and Brown undertook was crucial to creating a realistic and fitting set of costumes for the dystopian film.

In this female-led thriller, we see hacker Lisbeth Salander recruited to access nuclear codes after being fired from the National Security Agency. Lisbeth Salander’s computer, with the nuclear codes, are stolen by Russian thugs, and she is forced into chaotic and gruesome confrontations in order to avert disaster.

Costume designer Carlos Rosario and hair and makeup artist Heike Merker combined forces to create a uniquely rebellious depiction of a female anti-hero.

Lead actress Claire Foy was entirely transformed with a shaved head, piercings and dark leather costuming, the character appears weathered but utterly brutal. Lisbeth Salander’s costume reflects her inner turmoil and helps to present her as a rounded and complex character; her morals stand with modern society, even if her methods are questionable. This vicious and almost androgynous depiction of Lisbeth Salander is in keeping with the mercilessly callous presentations in the franchises previous films, the franchise continuing to reinvent the image of a female hero.

SECOND ACT The Second Act is a female-driven comedy which follows Maya Vargas as she takes on the task of restarting her career at the age of 40. Maya fights hard to fulfil her dreams and make something of herself in the elite world of Madison Avenue.

Director Peter Segal and costume designer Molly Rogers have taken viewers on a stylistic journey, as Maya Vargas changes from a discount shop employee to a business executive.

Rogers previous bodies of work included the Sex in the City franchise and The Devil Wears Prada, and she has bought the same respectable but glamorous style audiences loved in these endeavours to The Second Act. Statement coats featured heavily in the film. Lead actresses Jennifer Lopez and Vanessa Hudgens sported the chic winterwear in several scenes, and the bold colours stood out against the dreary winter setting. Lopez also wore a variety of executive dresses; the range was figure hugging with high necks and utilised a muted pallet but was given additional character with statement gold jewellery. The ensembles translated both the characters executive aspirations as well as her stylistic flair.

Rogers has perfectly merged formal business wear with outgoing elegance to create a wardrobe that translates both the ambition and adventurousness of her leading ladies. The films costuming is highly aspirational for any fashion-conscious working women.

AQUAMAN Aquaman is the latest instalment of the Justice League franchise. Like many DC movies, Aquaman has leant away from the cheesy and glitzy comic book depictions of superheroes in favour of a grittier and more sombre presentation.

Costume designer Michael Wilkinson has taken on the task of creating a more sinister look for the beloved superhero, to fit with the darker themes of the film. Aquaman’s original comic book costume was somewhat hard on the eyes, as he sported a tight, bright yellow shirt and emerald pants, with fish scale details across the entire ensemble. Wilkison has reimagined the hero’s costume, paying homage to the past while staying firmly planted in the modern day.

Actor Jason Momoa is painted with detailed tattoos that form a scale like pattern, which created a more intimidating and organic looking hero, as opposed to the previously lavish costume. Momoa also wears a much heavier set of armour than originally depicted, which hints to an action-heavy plot characteristic of DC films.

The new version of Aquaman has already drawn a great deal of support from fans. The updated look has proved a popular adjustment, and comic book enthusiasts are eager to see what other transformations are in store for their beloved characters.

6 I December/January 2019

How second-hand fashion is helping sustainability

edited

It’s a word that has been circulating the media, press and all over the web.

Brands are highlighting why sustainability is crucial to their business strategy. TV documentaries show the effects of unsustainability. It’s fast to see, consumers are becoming increasingly informed and educated on why we should clean up our fast fashion lifestyles.

Blogger, Bryan Yambao, known as @byranboy recently flagged that: “There’s nothing sustainable about creating something new en masse. Just stop.

Please. You wanna know what’s sustainable? Wearing your old damn clothes, that’s what. Bye.” With this said, it leads to a more extensive discussion on why more of us are wearing other peoples old clothes.

Yep, you heard it right. Secondary market behaviour is something consumers are moving towards in multiple forms – from reselling, recycling, gifting, swapping and reusing. The second-hand industry is becoming one of the largest growing consumer segments. The idea of a revolving wardrobe is becoming more widely adopted. Especially with Gen Z, more of us are becoming closet entrepreneurs.

GreenMatch (an online service set to link consumers with green energy products) recently published a study showing that “72 percent of Gen Z would spend more money on a service if it was sustainably produced” and have a “strong preference to switching to brands who take sustainable initiatives.”

WHAT DOES THIS MEAN?

The RealReal X Stella McCartney is another highprofile collaboration to reduce disposable consumer patterns. “The Future of Fashion is Circular” campaign encourages consumers to purchase quality, sustainable clothing that retains value and then resell it to consignment marketplaces to expand its lifespan, avoiding landfill or an incinerator.

SO, WHAT NEXT FOR SUSTAINABILITY?

EDITED’s data shows us from the last three years that there’s a big increase in apparel products described as having sustainability attributes.

THE PACK LEADERS Resale and P2P marketplaces such as Depop, Vestiaire Collective and The RealReal encourage consumers to shop, sell and swap pre-owned items.

Recently, Vestiaire Collective teamed up with Selfridges to create a pop-up store. Letting consumers buy and sell pre-owned luxury items discourages waste and promotes sustainability. All while making a quick buck.

The world of resale is creating an extended lifecycle for all clothes. So if consumers aren’t buying as frequently, what does this mean for traditional retail? The good news is, Gen Z is open to spending more money on things that are sustainably produced. Choosing ethical materials and practices alongside clear labelling advertising the fact is an easy win.

Another factor for retail is governmental regulation on environmental impact. This week alone the UK’s Environmental Audit Committee called on leading fast fashion players for evidence of the steps they are taking to reduce their carbon, resource use and water footprint along with monitoring ethics.

Soon, the fine print on the inside label won’t be enough.

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I7

25/07/18 9:27 AM

YOHJI YAMAMOTO Resene All Black

BALENCIAGA Resene Indian Ink

VETEMENTS Resene Double Bison

RABD Resene Delta

DRESSED UNDRESSED Resene Poured Milk

ohnny Cash famously wore black every day and said, “I wore black because I like it. I still do, and wearing it still means something to me.”

Colloquially known as ‘goth ninja’, this fashion movement is a dark spin-off of avant-garde fashion, a style with a monochromatic colour palette and minimalist aesthetic. It first began in the late 2000’s when fashion houses like Raf Simons, Rick Owens, and Givenchy all incorporated elements of the style on the runway, draping top-heavy black and grey robes, leather jackets and scarves with strange cuts.

In brief, goth ninja consists of dark, minimalist clothing and regularly contains references to 90s hip-hop and grunge, as well as religious iconography and gothic horror imagery.

As most garments in the style are black or very dark, using layers and textures is essential to make an outfit stand out. Materials like leather feature heavily, as do zips, drapey coats and oversized t-shirts.

The look starts from the top, with caps, beanies and facemasks, working its way down with scarves draping onto coats, and robes, over generally tight-fitting pants and jeans and finally ending with military boots and other black footwear.

On the streets, rappers like Kanye BED J.W. FORD West, A$AP Rocky, and Pusha T put Resene their twist on the style, stamping labels Twilight Zone and insignia all over the clothes, creating what’s sometimes known as ‘street goth’.

This streetwear adaptation also incorporates new elements like sneakers and bling as well as shirts with religious iconography.

Rabd’s Men’s Spring 2019 collection is a modern example of the style, pairing extralong pants with motorcycle jackets and a variety of asymmetrical garments. The oversized satin pants, similar to Resene Delta, break the black-on-black mould and makes the look stand out among ninja goth inspired pieces.

At Bed J.W. Ford’s Tokyo Fashion Week Show, the model leant completely into the ninja aspects of the

style, wearing entirely dark shades like Resene Twilight Zone all over, from his cowl down to his socks. The high-fashion look took ‘ninja’ literally, sporting a full ninja robe draped over tight-fitting clothes, all tied together with a traditional-looking rope belt with tassels hanging down.

Balenciaga’s RTW Spring 2019 show displayed a cross-section of modern glamour and technology.

The collection was mostly androgynous and gothic in nature, with sculpted coats, dresses, and jackets all completely covering the model. On the runway, the model showed off a relaxed take on the style, sporting a dark robe like Resene Indian Ink that conjoined on the bottom like a dress, hiding the rest of the model behind the over-sized robe.

Yohji Yamamoto’s RTW Spring 2019 collection featured a lot of draped clothing, designed as a nod to old-school tropes of feminine and masculine.

“Recently, young boys, they’ve started wearing more feminine clothes,” said Yamamato. So instead he presented a collection that doubled down on the feminine aspects. With a robe in a colour like Resene All Black hanging down to the model’s feet, the look was a distinctly feminine twist on the goth ninja style, with cuts in the model’s pants which revealed the body rather than shrouding it in fabric like traditional ninja goth looks.

Designer Takeshi Kitazawa showed off a new side to his DressedUndressed brand. The collection featured androgynous pieces including slim vinyl pants, blazers and tailored coats. In this look, the model wore a chalky black coat with white powder marks splashed over it like Resene Poured Milk, making for a minimalist, stripped back look which reduces the style to its most important elements.

Vetements Spring RTW 2019 collection at Paris Fashion Week incorporated elements of streetwear, including spikey military boots, a balaclava, and a graphic print t-shirt. They were all paired with a modern military influenced jacket in a colour like Resene Double Bison, showing how other colours and patterns can work alongside the style to elevate it even further.

CLASS OF 2018

student life

Teresa Fifita AUT Teresa Fifita’s interest in fashion started when she was just a little girl. “I would throw away my dolls original clothes and create new designs of what I wanted to wear with materials I found around the house,” said Fifita.

Her AUT graduate collection embodied the same bold joy of childhood, with a mix of bright colours and prints featuring heavily across the five-look collection.

Her collection ‘Child’s Play’ drew inspiration from 19th-century children’s wear and children’s choices of clothing today. “When kids dress themselves haphazardly, there is always an absurd clash of colours and fit. I have taken this element and combined it with features from the early 1900s such as Peter Pan collars, puff sleeves and tailored jackets,” explained Fifita. She incorporated large patterns and odd proportions in her designs with the intention of her collection being viewed by audiences through the eyes of a child.

Fifita drew heavily on her own emotions in the creation of her graduate collection.

The idea behind Child’s Play originated from her concerns about impending adulthood and the uncertainty of a career once she graduated. “I saw this collection of mine as the last way to experiment and be childish before I became more focused and serious in my aesthetic as a designer,” she said. The result was a bubbly and charming mini collection which captured the playfulness and innocence of childhood.

Claudia Osner NZFT

Makyla Ata NZFT Makyla Ata was surrounded by fashion from a young age and felt an immediate connection with the industry, from watching her great-aunt design stunning wedding dresses to cutting up Woman’s Day magazines and making fashion collages, to eventually moving on to study design at the New Zealand Fashion Tech.

Her graduate collection was inspired by the powerful and independent women on the 1950s television show The Marvelous Mrs Maisel. “I am heavily inspired by attitude,” explained Ata. “How you feel when wearing clothing is so important, when you feel good in something it empowers you and gives you confidence.” Ata took inspiration from the era and attitudes in The Marvelous Mrs Maisel and created a collection which spoke to a modern and confident young woman.

Ata had spent a lot of time in the industry and bought unique experiences from her times with different brands to her latest collection. “Being in a real fashion environment teaches you so many things,” she said. The young designer had interned in fashion houses and retailers around the country, including Maggie Marilyn, Trelise Cooper and High Society. Each new experienced provided a fresh perspective, which impacted her design process.

Following her graduation and the success of her graduate collection, Ata is set to begin her new role as an assistant fabric buyer, which is an impressive opportunity for the young designer. Ata is excited to see where her career in fashion will lead her next.

10 I December/January 2019

From a young age, Claudia Osner knew she belonged in the field of fashion. “By age ten I was copying my older sister’s fashion drawings, and I was heavily influenced by the art she had produced so far. I adapted and grew a style of my own, and from then on I fell in love with art and fashion.”

Osner’s graduate collection sat at the intersection of art and fashion. “I love to view the world through a lens where everything can be art – people themselves are works of art, each person so individually chaotic and fascinating in their own unique way,” explained Osner. Her collection blurred the lines between opposing states, soft colour palettes mixed with structure and texture, and femininity and masculinity blended to create a universal look. For inspiration, Osner turned to Scandinavian and Japanese architecture, stimulated by their simplicity, naturalness and imperfection she sought to translate these key components to her new collection.

In addition to stylistic influences, Osner placed a great deal of importance on environmental impact and wanted to create a collection which was eco-friendly. “I knew the only way I could produce my collection was consciously and responsibly. All of the organic fabrics I chose were done so after careful research. I feel proud knowing I produced three looks that will not harm the wearer or the environment,” she explained. And she expressed her hope to bring this same mindfulness to her future endeavours within the industry.

“Our planet needs our love and care, now more than ever before, and I want to be able to combine my passion for such a stimulating subject with my desire for the wellbeing of our world and our society.”

As she looks to the future, Osner dreams of becoming a leader in her own business whilst continuing to embrace the process of education and self-improvement. “I have a lot more learning and life experience to come, and I am okay with embracing this slow process,” said Osner. “I believe as long as you are continuously working on the things you love to do, sharing it with the world and striving toward every tiny opportunity given to you is the biggest opportunity of all.”

Phibae Sein

Tessa Gould

NZFT

NZFT

The most valuable thing Phibae Sein learnt in her training as a fashion designer is not to be afraid of mistakes. “It’s okay to make lots of mistakes because you will most likely never make them again,” said Seing. Sein took this bold approach to design and implemented it in the creation of her graduate collection.

The young designer was heavily influenced by the television series Peaky Blinders, a story of a chic and ruthless crime family in the 1920s.

She set about creating compelling, structured garments which spoke to strong women.

“My goal is to empower women through masculine tailoring and encourage individual instinct, to explore dressing as an everyday phenomenon,”she explained. History was a significant influence for Sein’s collection, and the result was a timeless range of powerful womenswear items.

Sein’s graduate collection demonstrated her devotion to individuality and self-expression.

“I strongly believe that we as designers should focus more on a unique approach to our styling rather than fast fashion, as fast fashion isn’t sustainable.”

As Sein prepared to complete her official training, following the showing of her graduate collection, she is eager to begin her career as a designer. “As a graduate, I want to focus on learning more skills by working within the industry. I would love to show more of my work and eventually start my own label.”

Tessa Gould grew up seeing her mother and her grandmother making their own clothes and was inspired to pursue a career in fashion. Now at only 20 years old she is preparing to graduate from New Zealand Fashion Tech.

When it came to designing her graduate collection, Gould found inspiration in the 1940s and created three outfits in the women’s office wear genre. “I really enjoy tailoring and love structured silhouettes, so I incorporated those elements throughout my designs,” explained Gould. The collection played reference to the women of world war one, who went out to work in men’s job and took on a totally different role than society had set out for them.

For Gould, the most rewarding part of creating her graduate collection was the production process. “I really enjoy constructing a garment from start to finish and then seeing what you have created with your own hands, it is such a rewarding feeling,” she said. From designing silhouettes to fabric selection and sewing, Gould found the entire process of creating her own collection highly gratifying. She believed that having strong sewing skills behind you would give any designer a good sense of what works and what doesn’t and would ultimately improve their design skills.

The young designer is preparing to set sail for India, where she will spend six weeks studying through the Prime Minister’s Scholarship for Asia.

Following her time abroad, Gould is excited to break into the industry and find a job she loves in this highly competitive industry.

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I 11

Amber Sterritt NZFT Amber Sterritt’s graduate collection was a massive sidestep from her usual dark and androgynous style. The young designer took the opportunity to step outside of her comfort zone and create a mini collection which spoke to a different client and highlighted her diverse areas of expertise.

The three-look collection featured three unique jumpsuits with highly feminine pastel colours. Sterritt was inspired by WORLD and the unique and empowering attire of women in this time period. “I chose light upholstery fabrics to make my collection feel strong and sturdy, like genuine workwear would,” explained Sterritt. Her base colours were pink, blue and pale yellow, which were used to create a robust feminine-masculine juxtaposition.

Sterritt finds inspiration for her designs all around her. “I can see something while I am out and about and be immediately inspired with new design and patternmaking ideas,” said Sterritt. Rather than being influenced by other designers, the up and coming designer prefers to focus on her individuality and develop her aesthetic internally. “I am very individual and inspired by my own pop culture interests.”

Looking into the future, Sterritt is hoping to become a full-time patternmaker and apply her broad array of skills to an established fashion house.

Priyanka Rana AUT Originally from India, Priyanka Rana moved to New Zealand when she was nine years old with her family. “I didn’t really know how to speak English when we first moved, so I began drawing a lot,” said Rana. She would love to make things and work on projects which boosted her creativity. Rana enjoyed using her imagination to create new things and continued to experiment with different methods. One of these experiments started with clothing when she was about 11.

“It was around this time I started sketching clothes obsessively,” she said. “When the opportunity to take sewing at high school came up, I jumped at it.” This enabled her to bring all of her sketches to life. Her graduate collection at AUT showcased five looks; a highlight for Rana was the transition from the initial sketches to the final pieces. “It really showed me how far I have come in my designing process.”

While at AUT, Rana explained that it is easy to get emotionally invested in your work, especially after the hours of time and effort. “It can dishearten you when your lecturers and peers do not see it the same way as you,” she said. “But you just have to allow yourself to be open to criticism and remind yourself that others are seeing your work with a different perspective.”

For this collection, Rana explored David Maisel’s photographs of a human altered landscape. Shooting from an aerial perspective, Maisel shows the impact of human activity such as mining, deforestation, and transportation on Earth.

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Chico Corsante Williams AUT Over his time at AUT, marine electrician turned fashion student Chico Corsante Williams has learnt that almost anything can influence his design decisions. From music and history to a passion for fixing old cars, Williams' design aesthetic is highly influenced by the world around him.

For his graduate collection, the young designer took inspiration from his mother and her battle with dystonia. “My collection was based on her relationship with her illness, and the two of them sharing one environment,” explained Williams. His collection was called Family Ties, and each of the five pieces represented a different evolutionary state of his mother illness. Williams manipulated fabric to represent muscle tension and twists, to create a complex structure to his garments. “Texture and tone were a big part of my collection. I used multiple fabrics in every garment to confuse the viewer, to see something beautiful in something that shouldn’t be so.”

Delving into his mother’s illness was a personal journey for Williams, as it is something he has not spoken about in the past. His graduate collection provided the opportunity to express his feelings and understandings about his mother’s struggles in a creative way.

Williams places a great deal of importance on practical skills as well as design insight and will apply both sets of skills in his future fashion career. “I think you shouldn’t design a house if you can’t build one,” said Williams. His future in fashion will be a hands-on venture in design and execution.

The striking unfiltered imagery observed the scale in which the land has been altered. “Both beautiful and horrifying to look at, I used his images to create the collection.” Rana used fabric manipulation techniques, natural fibres and hand dying to reference what she saw in Maisel’s work.

Inspired by events, culture and people, Rana likes to reference current affairs and issues surrounding sustainability and where fashion is heading within this concept. Alexander McQueen was a big inspiration for Rana as he pushed the boundaries in the fashion industry. “It was designers like this that I found most inspiring because their use of materials and concepts were so far beyond what you saw on clothing racks. There was a high level of creativity where the garments became a piece of art within themselves.”

Before graduating, Rana spent some time interning for Taylor Boutique and Georgia Alice where she worked in the workroom. “It was a great insight into the different positions available within the fashion industry,” she said. “I was amazed at how localised production in New Zealand is and the great relationship everyone has with one another.”

Her biggest challenge moving into the industry is navigating her brand through the noise. Being more environmentally conscious is also high on the list. At the moment, Rana sells one-off pieces online and through social media. “I am interested in getting as much experience as I can because there is still so much to learn.”

Beth Hornsby-Hunt

Lavinia Ilolahia

SEWTEC

AUT

For Beth Hornsby-Hunt the road that lead her to a career in fashion was not a straightforward one. She struggled for many years to find her passion, but once her son was born, she found herself leaning into the creative. Her journey into the fashion industry began with designing baby bibs and shorts, but Hunt soon discovered that she held a lot more potential that she wasn’t exploring, so enrolled in Sewtec to develop her skills. “It took me thirty years to figure out what I wanted to do, but I’m glad I’ve finally found my place,” said Hunt.

For her graduate collection, Hunt created a five-look collection based on the macabre.

“Everything was either black, or blood splattered, with some taxidermy, bones and a few severed fingers here and there,” she explained. Hunt intended to create a collection which was fun and different and would get people talking. She chose her fabrics based on creative instinct. The delustered bridal satin became a staple throughout the range, providing just the right amount of reflection. The part of her collection she was most elated with was her graveyard skirt. “The volume I was able to create was something I was so proud of,” she saidt.

Hunt pulled influences from all elements of her life, from her time interning with The Pattern Table, to her stint on Project Runway NZ. “This is a crucial time for me to really push myself and make some waves in the industry,” said Hunt. The designer has dedicated her time to establishing her brand's aesthetic and finding the image she wants to put out to consumers. “I’m so new to this that I’m not 100 percent sure which box I want to put myself into, or if I even want to be put in a box.”

Lavinia Ilolahia is highly experienced in the world of fashion and has used her time as an intern and her experience as coowner of a label, Layplan, to guide the creation of her graduate collection for AUT. “I interned under Kiri Nathan for a little while,” explained Ilolahia. “She is non-trend driven but instead produces looks that are relevant to her and her ethos.

Seeing her work in this way gave me insight into how I could incorporate this into my own practice.”

Ilolahia’s collection presented an innovative twist on sportswear and was heavily inspired by her culture. “My collection revolves around the popular belief that there is a correlation between being Pacific Islander, and an ability to excel in sports. As a Pacific Islander who shares little to no interest, skill or connection to sports I don’t belong,” explained Ilolahia.

Her collection presented an opportunity for her to connect with

this stereotype on her own terms. She chose fabrics that were commonly associated with sportswear but used them in a way that stripped them of their association. The result was a collection which strayed away from sportswear expectations and instead presented various shirts, skirts and tailored trousers which told a unique story.

Regarding her process, Ilolahia liked to embrace the challenges she faced in the design process. “There have been many times where I’ve set out to make one thing but finished with something completely different. So now I like to embrace that design while I sew,” she said. Her design process always began with a strong vision of a silhouette.

“I am heavily influenced by silhouettes and the ability they have to transform the perception of the body. When I design, I immediately design the shape of it and then come in with details later.”

Ilolahia’s Layplan brand is selling online through social media but looking into the future, she hopes to expand the brand’s horizons. An online store would be the next step for her brand, followed by finding quirky spaces to do pop-ups, instead of starting a store.

Dianne Kwak AUT For Dianne Kwak fashion was always a part of who she was. “There was no significant event or reason that got me into fashion. Just for as long as I can remember I loved clothes, looking at clothes. I knew fashion was what I wanted to do. It just felt right,” explained Kwak. Kwak poured this passion into her graduate collection for AUT. Kwaks five look collection was inspired by an assortment of stories and memories the young designer held dear. “I love listening to stories, whether it is from my family or friends. I am definitely inspired by these, and it makes me want to design pieces which reflect these memories,” articulated Kwak. “I want to make clothes that hold meaning, and I hope my silhouettes, fabric choices and construction is a reflection of what inspires me.”

Her collection was most heavily influenced by her grandmother, taking her unique style and providing a modern twist. “I wanted to create a wardrobe that my grandmother would wear if she were my age now, that still reflected her personality and trigger memories from her youth,” said Kwak. Her collection featured specific design elements from her grandmothers’ wardrobe which were then reworked and reimagined in a modern setting. Kwak heavily utilised virgin wools, silk-wool blends and cotton-silk blends in the chic collection.

From her time studying fashion at AUT, Kwak took away the idea that many of her lecturers preached; perfection is the enemy of progress. “I am definitely a perfectionist, and I always try to make sure my garments are made to a high quality,” explained Kwak.

But working to a strict deadline provided her with

insight into the importance of both time management and greater perspective. “It taught me when to stop, put something down and understand that it was okay, and it was time to move on to more important things,” said Kwak. The young designer intends to take these lessons and implement them as she begins her career in the fashion industry.

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