Apparel Magazine | September 2018

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editor ’ s note

fashionable reads

A Life in Pattern

by Orla Kiely

Orla Kiely has opened her archives to explore a life dedicated to print. From her earliest and most iconic pattern, Stem, to the evolution of her print design encompassing the worlds of fashion, homewares and beyond, Orla shares the full range of patterns and designs that she has produced since establishing her brand in 1995.

This is a celebration of Orla’s entire body of work - of colour, of print and of a handbag loved by women all over the world.

Kate

by Mario Sorrenti Intimate, never-before-published photographs taken just before Kate Moss’s rise to fame, in one elegant volume. It includes tipped-on images on the book and clamshell box’s covers, plus an introductory essay by Sorrenti, which puts the work in its uniquely personal context.

This book, which celebrates the dawn of two legendary careers, and the start of the highly influential aesthetic of 1990s fashion photography, is a musthave for Kate Moss’s fans, for fashion devotees, and for lovers of traditional portraiture and fashion photography.

Dior by Dior

by Christian Dior

Christian Dior rocketed to fame with his first collection in 1947 took the world by storm. This charming and modest autobiography gives a fascinating and detailed insight into the workings of a great fashion house, while revealing the private man behind the highprofile establishment. It is also a unique portrait of classic Paris haute couture of the 1950s and offers a rare glimpse behind the scenes. Dior details his childhood in Granville, the family and friends closest to him, his most difficult years and sudden success, as well as his sources of inspiration and creative processes.

Louis Vuitton Catwalk

By Jo Ellison and Louise Rytter

This publication opens with a concise tell all on the history of the house. Followed by brief biographical profiles of Marc Jacobs, the first creative director 19982014, and Nicolas Ghesquière, who helms the brand today. The Authors then begin exploring the collections themselves, organized chronologically.

Each collection is introduced by a short text unveiling its influences and highlights and illustrated with carefully curated catwalk images.

Showcasing hundreds of spectacular clothes, details, accessories, beauty looks and set designs - and, of course, the top fashion models who wore them on the runway, from Naomi Campbell and Gisele to Kate Moss and Cara Delevingne. Ending with a rich reference section, including an extensive index the hard cover is a coffee table must.

DO NOT ANSWER, IT’S DEREK SMEATH Recently, in the life of being a consumer, I have been overwhelmed with calls from retailers. What are you guys up to now?

I have found myself ghosting store calls left, right and centre just to carry on living my life. It turns out, I’m not the only one. In the past year, seven out of ten consumers have been on the receiving end of unwanted phone calls from companies trying to sell them something. On top of that, the unlucky 30 percent have been receiving nuisance calls at least once every fortnight.

A whopping 79 percent of people surveyed by Consumer NZ said they want to stop unsolicited calls.

“Not surprisingly, most people who get these calls aren’t happy about it. Four out of five said they disliked receiving these calls and wanted them to stop,” said Consumer NZ chief executive Sue Chetwin.

These nuisance calls are plaguing consumers and are making them unwilling to answer the first time.

So, when you actually need to dial them up, it makes it almost impossible to get through. In New Zealand, there are industry-run Do Not Call and Do Not Mail registers, however they fall short of the mark. While the schemes are voluntary, only some companies actually use the registers. Across the Tasman, the government has stepped in and set up an official Do Not Call register.

It is illegal for ANY company to call a listed number on this roll. Earlier in the year, a company was fined $25,200 AUD for calling numbers on this register.

Rather than call repeatedly why not make your e-newsletter more engaging? Just because I’ve given you my personal information doesn’t mean I want you to call me..

In other news, I was pleasantly surprised with the cull of influencers this year at New Zealand Fashion Week. Despite having a few lingering around, there was at least a healthy reduction in numbers. Of course, there were one or two random international influencers (AKA Australian), whom no one had seen before, show up as draw-cards. It was disheartening to see the few influencers that did attend, laugh at garments as they came down the runway or not even pick up

their phone at all. Do they not know why they were invited? It wasn’t their shining personality; it was for their followers. Being invited to a show, especially if you are front row and media, is a silent agreement to produce some kind of post or story. Whether that’s one video on an Instagram story or an editorial spread in print. I don’t think influencers understand what events such as NZFW are about and therefore cannot make the right decisions other than what outfit to change into at lunch. This year, influencers were about ten percent of the audience, whereas, last year they were easily over 40 percent. I was happy to see more qualified individuals filling up front rows including stylists, retailers, buyers, and fellow magazine editors. It was great to meet some of the new independent retailers at various shows and they were impressed with the quality of work New Zealand has produced. Don’t get me wrong, an influencer has a place in the industry, it’s just very, very small and needs to have a definite ROI.

WHO SHOT THE LION?

A man walks into a doctor’s office and asks: “Doc, my girlfriend is pregnant, but we always use protection and the condom never broke. How is this possible??”

The doctor replied: “Let me tell you a story. There was once a hunter who always carried a gun with him wherever he went. One day, he took his umbrella instead of his gun and went out. Suddenly, a lion jumped in front of him. In order to scare the lion, the hunter used the umbrella like a gun and shot the lion and killed it!”

The man looked at the doctor and said: “Nonsense!

Someone else must’ve shot the lion.

To which the doctor replied: “Good! You understand the story. Next patient, please!”

Congratulations to my older sister who is expecting her first child.

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 EDITOR Caitlan Mitchell - caitlan@reviewmags.com PO Box 37 140, Parnell, Auckland, New Zealand 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 EDITORIAL TEAM

Caroline Boe - caroline@reviewmags.com

Josephine Adams Coralie Vissac

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.

apparelmagazine.co.nz

I3

editor ’ s note

fashionable reads

A Life in Pattern

by Orla Kiely

Orla Kiely has opened her archives to explore a life dedicated to print. From her earliest and most iconic pattern, Stem, to the evolution of her print design encompassing the worlds of fashion, homewares and beyond, Orla shares the full range of patterns and designs that she has produced since establishing her brand in 1995.

This is a celebration of Orla’s entire body of work - of colour, of print and of a handbag loved by women all over the world.

Kate

by Mario Sorrenti Intimate, never-before-published photographs taken just before Kate Moss’s rise to fame, in one elegant volume. It includes tipped-on images on the book and clamshell box’s covers, plus an introductory essay by Sorrenti, which puts the work in its uniquely personal context.

This book, which celebrates the dawn of two legendary careers, and the start of the highly influential aesthetic of 1990s fashion photography, is a musthave for Kate Moss’s fans, for fashion devotees, and for lovers of traditional portraiture and fashion photography.

Dior by Dior

by Christian Dior

Christian Dior rocketed to fame with his first collection in 1947 took the world by storm. This charming and modest autobiography gives a fascinating and detailed insight into the workings of a great fashion house, while revealing the private man behind the highprofile establishment. It is also a unique portrait of classic Paris haute couture of the 1950s and offers a rare glimpse behind the scenes. Dior details his childhood in Granville, the family and friends closest to him, his most difficult years and sudden success, as well as his sources of inspiration and creative processes.

Louis Vuitton Catwalk

By Jo Ellison and Louise Rytter

This publication opens with a concise tell all on the history of the house. Followed by brief biographical profiles of Marc Jacobs, the first creative director 19982014, and Nicolas Ghesquière, who helms the brand today. The Authors then begin exploring the collections themselves, organized chronologically.

Each collection is introduced by a short text unveiling its influences and highlights and illustrated with carefully curated catwalk images.

Showcasing hundreds of spectacular clothes, details, accessories, beauty looks and set designs - and, of course, the top fashion models who wore them on the runway, from Naomi Campbell and Gisele to Kate Moss and Cara Delevingne. Ending with a rich reference section, including an extensive index the hard cover is a coffee table must.

DO NOT ANSWER, IT’S DEREK SMEATH Recently, in the life of being a consumer, I have been overwhelmed with calls from retailers. What are you guys up to now?

I have found myself ghosting store calls left, right and centre just to carry on living my life. It turns out, I’m not the only one. In the past year, seven out of ten consumers have been on the receiving end of unwanted phone calls from companies trying to sell them something. On top of that, the unlucky 30 percent have been receiving nuisance calls at least once every fortnight.

A whopping 79 percent of people surveyed by Consumer NZ said they want to stop unsolicited calls.

“Not surprisingly, most people who get these calls aren’t happy about it. Four out of five said they disliked receiving these calls and wanted them to stop,” said Consumer NZ chief executive Sue Chetwin.

These nuisance calls are plaguing consumers and are making them unwilling to answer the first time.

So, when you actually need to dial them up, it makes it almost impossible to get through. In New Zealand, there are industry-run Do Not Call and Do Not Mail registers, however they fall short of the mark. While the schemes are voluntary, only some companies actually use the registers. Across the Tasman, the government has stepped in and set up an official Do Not Call register.

It is illegal for ANY company to call a listed number on this roll. Earlier in the year, a company was fined $25,200 AUD for calling numbers on this register.

Rather than call repeatedly why not make your e-newsletter more engaging? Just because I’ve given you my personal information doesn’t mean I want you to call me..

In other news, I was pleasantly surprised with the cull of influencers this year at New Zealand Fashion Week. Despite having a few lingering around, there was at least a healthy reduction in numbers. Of course, there were one or two random international influencers (AKA Australian), whom no one had seen before, show up as draw-cards. It was disheartening to see the few influencers that did attend, laugh at garments as they came down the runway or not even pick up

their phone at all. Do they not know why they were invited? It wasn’t their shining personality; it was for their followers. Being invited to a show, especially if you are front row and media, is a silent agreement to produce some kind of post or story. Whether that’s one video on an Instagram story or an editorial spread in print. I don’t think influencers understand what events such as NZFW are about and therefore cannot make the right decisions other than what outfit to change into at lunch. This year, influencers were about ten percent of the audience, whereas, last year they were easily over 40 percent. I was happy to see more qualified individuals filling up front rows including stylists, retailers, buyers, and fellow magazine editors. It was great to meet some of the new independent retailers at various shows and they were impressed with the quality of work New Zealand has produced. Don’t get me wrong, an influencer has a place in the industry, it’s just very, very small and needs to have a definite ROI.

WHO SHOT THE LION?

A man walks into a doctor’s office and asks: “Doc, my girlfriend is pregnant, but we always use protection and the condom never broke. How is this possible??”

The doctor replied: “Let me tell you a story. There was once a hunter who always carried a gun with him wherever he went. One day, he took his umbrella instead of his gun and went out. Suddenly, a lion jumped in front of him. In order to scare the lion, the hunter used the umbrella like a gun and shot the lion and killed it!”

The man looked at the doctor and said: “Nonsense!

Someone else must’ve shot the lion.

To which the doctor replied: “Good! You understand the story. Next patient, please!”

Congratulations to my older sister who is expecting her first child.

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 EDITOR Caitlan Mitchell - caitlan@reviewmags.com PO Box 37 140, Parnell, Auckland, New Zealand 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

Josephine Adams

Coralie Vissac

EDITORIAL TEAM

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.

apparelmagazine.co.nz

I3

fast five

swatch watch

AUSTRALIAN HEAD OFFICE +61 7 3251 2970 AUCKLAND DISPLAY LOCATION 0508 88 44 11

DFS INTRODUCES LOCAL DESIGNERS Celebrating the newly renovated T Galleria By DFS, DFS has unveiled the new store with the addition of nine New Zealand designers. As the world’s leading luxury travel retailer, DFS holds more than 200 of the most desirable brands across four levels. Auckland’s DFS customers will have the opportunity to discover curated ready-towear fashion pieces by local designers. The nine designers include: Benjamin Alexander, Harman Grubiša, Turet Knuefermann, Maaike, Salasai, Stolen Girlfriends Club, Wynn Hamlyn, Zambesi, and Kathryn

Wilson. As part of the reopening, local graffiti artist Otis Frizzell was invited to create unique art throughout the store’s historical staircare.

“We are incredibly excited to showcase New Zealand’s finest fashion design talent at T Galleria by DFS, Auckland.” said Robert Calzadilla, DFS Group Region President Asia South. “Fashion is an integral part of our product assortment, and we welcome locals and travelers alike to experience an evening of glamour and excitement inside our newly renovated store.”

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ALLBIRDS AT THE BIG APPLE The footwear company is opening a flagship store in New York this month. Allbirds started out as an online boutique offering “the world’s most comfortable shoe” and is gearing up to open their permanent 4800 square foot store. The flagship is designed to reflect the aesthetic of the shoes themselves, related and comfortable. Designed in collaboration with Partners & Spade the store is minimalistic with a handful of shoes on display and a service bar to help shoppers find

their size. “Given how tactile our product and brand story is, it is important that we continue to create these opportunities to interact with customers,” said Joey Zwillinger, Allbirds cofounder. Capitalising on their growth, ‘Allbirds’ plans on opening eight stores in the US in the next year, and potentially two more globally.

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AMAZON HITS ONE TRILLION Following Apple, Amazon is now the second American company to reach the trillion-dollar mark.

Amazon’s founder and chief executive, Jeff Bezos, is worth nearly as much as Bill Gates and Warren E. Buffett put together. When Apple crossed the line last month the reason was simple: they make devices that most people are willing to spend money on. Amazon is slightly more complex, with more than 550,000 people working for them and a generation of 178 billion American dollars in revenue

annually. Selling food, technology, home services and everything in between. What is the thing that has always sold the most across the board? The excitement of the endless retail possibilities. Amazon shareholders have already had an extraordinarily good year. The company’s stock has surged more than 70 percent since January, outperforming Apple, which has gained more than 30 percent.

This was a long time coming for Amazon, but still a milestone nonetheless.

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4 I September 2018

NIKE STOCKS DROP

$1 BILLION DEVELOPMENT INCLUDES H&M The new flagship store in Commercial Bay in the heart of Auckland eats up 3,500 square metres across four levels. Filled with 120 staff, the store features H&M’s Home – a first in New Zealand. It will exclusively house H&M’s limited premium collections and offer the Conscious collection as well. Customers will be able to use the brand’s garment collecting service to give their unwanted items a new life and close the fashion loop. This is the first store of the Commercial Bay development, which was was originally anticipated as a $1 billion NZD. Apparel spoke to Daniel Lattemann, the country sales manager of H&M New Zealand.

After working with H&M in various roles for more than 20 years, Lattemann was previously working in America and Mexico before his new role in New Zealand. Lattemann explained that the new store will offer an unparalleled shopping experience amidst progressive development in

the area. “We see Auckland as a key market and I think this location is really unique because we see that it has so many ethnic groups and is so diverse in Auckland,” Lattemann said. “As a global brand, we can offer fashion quality at the best price in a sustainable way.” A highlight of the store for Lattemann is the light fixture on the top floor which can be seen down Queen Street which is unique to this particular store.

“We are excited to finally be able to announce the opening of our Commercial Bay store on 30th August and to be able to offer our customers two incredible fashion shopping destinations within Auckland,” said Hans Andersson, Country Manager for H&M Australia and New Zealand. “We are also looking forward to introducing the H&M Home concept to our Auckland customers as we feel this really rounds out our wide assortment offering for this flagship store.”

Nike stocks slipped three percent after a campaign that featured an endorsement from Colin Kaepernick. The NFL player who when the current POTUS Donald Trump was inaugurated into the white house protested in silence by kneeling during the national anthem.

Some went as far as burning their Nike apparel but the real question is – will this three percent decline scare investors?

Experts are advising the hoard of millennials rushing to purchase the stock now to hold off. Even with the minor drop, Nike’s overall stock is up fifty percent this year alone and one hundred and thirty four percent in the past five years. Investors will sit out of a controversy but never a bull rally. Nike is the world’s eighteenth most valuable brand behind giants Amazon, Apple, and Facebook. It is important to note Nike’s growth isn’t coming from places or people who care if an athlete kneels during the American National Anthem. “Believe in something, even if it means sacrificing everything.” How better to celebrate thirty years of ‘Just Do It’ than by placing a man who did something out of passion he probably shouldn’t have done, at the forefront of your campaign.

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6 I September 2018

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I7

designer showcase

Evolution Revolution How textiles have remade our world time and again and why we need them to do it again.

Bernadette Casey holds an MSc in marketing and is the founder and creative director of The Formary (a sustainable textile research, development and consulting company) and board member of iD Dunedin Fashion Week.

Ancient Greeks worshipped Athena the goddess of wisdom, craft, and war, she was the protector of ships and of weaving (the sail cloths that propelled the ships). According to Professor Elizabeth Barber, textile production is older than pottery and perhaps even older even than agriculture and stockbreeding.

Textiles are our earliest and most enduring form of technology, more ancient than bronze and as current as digital currency.

Before metal currency was invented cloth was used for transacting trades, now Bitcoin pioneers have adopted the term ‘weaving’ rather than ‘mining’ as their metaphor for recording transactions on Bitcoin’s socialised ledger.

Today’s computer technology borrowed from the binary system of weaving and directly from the punch card technology developed for the production of Jacquard cloth by Joseph Marie Jacquard in 1801. Our language reflects the profound impact of textiles on humanity and society’s development, words like fabricate from the Latin word fabrica ‘something skilfully produced’, text and textile from the verb texere, to weave. We speak of hanging by a thread, or being frazzled, of catching a shuttle, of spin-offs, and looming deadlines. Textile terminology is so deeply imbedded in the vernacular we give little thought to its genesis.

The fashion industry is now valued at about 3 trillion per year, container after container of clothing leaves South East Asia and is shipped across the world to Europe and the States and the south Pacific where the latest outfits are worn for a period (an average Zara garment is worn 6 times). Then about 70 percent of the worn garments are shipped to third world countries, where the uncontrolled export of our waste clothing has decimated local textile industries and created an industry of poverty where people try to etch a living out of the resale of used garments, this has resulted in significant social impacts through the closing of local industries (which cannot compete with the import of cheap clothing) and the loss of skilled jobs to significant environmental effects from the dumping of unwanted used clothing.

People want to do the right thing, as is indicated by the large volume of used clothes donated through clothing bins rather than just thrown out. In reality they are providing free stock to multi-million dollar businesses which then on-sell the majority of this clothing to poor second hand clothing traders on foreign shores. The issue is so significant that in 2016 a block of East African Government’s proposed a ban on the importation of second-hand clothes, but a counter move from powerful US rag traders to have trade agreements rescinded to enable the continued

dumping of waste clothing on those less fortunate looks far from benign.

New Zealand is part of this global system, so, when we have worn the latest outfits and moved on to the next season where does billions of dollars worth of our clothing go? Auckland Council estimate discarded textile and clothing waste at about 9 percent of landfill and is their fastest growing waste stream. Our donated clothes are sold into the Pacific, New Zealand exports a cool $14 million a year in used clothing a year to Papua New Guinea alone.

The recently released Pulse Report on the State of the Fashion Industry, predicts the industry aims to double its use of polyester by 2030, placing their hopes on the emerging fibre to fibre technology which uses green chemistry to break down used polyester to its molecular componentry and then be reformed back into polyester without the loss of quality. Promoting the concept that clothes could be “infinitely recycled”.

But this ignores the environmental impact of the use and laundering of synthetic clothing.

Microplastic fibres from clothing and other plastics is so prevalent they are now a common contaminant in our drinking water and food sources. Tap water samples from over a dozen countries have been analysed with over 80 percent contaminated with micro plastic fibres from clothing and other plastics.

According to Greenpeace’s 2017 ‘Fashion at the Crossroads’ report “Recent studies of the plastic waste along the western coast of Sweden found that more than 90 percent of the microplastics found in ocean surface waters (which are themselves a portion of overall marine plastics) consisted of synthetic textile fibres.” While the focus of the fashion industry is on recycling of synthetics, the green chemistry recycling of clothing and textiles made from natural fibres is also developing rapidly.

The recent revelation of British luxury brand Burberry burning millions of dollars of excess stock has ignited conversations around the globe on

Bernadette Casey

CREATIVE DIRECTOR, THE FORMARY

8 I September 2018

the issue of slow, obsolete, excess and end-of-life clothing, turning the spotlight on this less fashionable side of fashion and the extended chain of custody.

Close on Burberry’s disclosure came Earth Overshoot Day, that calculated on 1st August, 2018 the world had consumed a year’s worth of resources in just seven months, amplifying the issue of resource use and responsibility.

Cognisant of these issues, a collaboration of prominent New Zealand organisations including Fonterra, Alsco NZ, Wellington City Council and Wellington Zoo has formed to create a step change in how end-of-life clothing is managed. New Zealand based textile research company The Formary was approached to lead the Textile Reuse Programme with the aim of reducing environmental impacts and producing social and financial benefits for New Zealanders. The programme is now open to other organisations, assisting to meet customers’ expectations for responsible management of clothing.

Approaching the issue from a systems perspective will advance the fashion and textile industry towards a circular model for clothing, looping used clothing back into useful production as valued industrial inputs, with the potential to unlock billions of dollars of resource value (globally) that is currently lost.

Spinning technology was the catalyst that sparked the industrial revolution, weaving punch card technology, the computer age, the invention of polymers and hightech fabrics have enhanced mankind’s physical performance on this earth and beyond. Since time immemorial, textiles have remade our world, repeatedly revolutionising society. Our current production and consumption of clothing is now impacting the earth’s ecology, it’s time for the textile industry to do what it does so well and usher in a new revolution, a restorative one.

Edited and updated version of the article by Bernadette Casey published in Pure Advantage (Oct 2017).

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apparelmagazine.co.nz

I9

trade talks

BUT WHAT DOES IT MEAN?

How to Manage Millennial Mentalities WHY ARE MILLENNIALS What’s up with the kids these connections quickly. They want to feel the love they LIKE THIS? thought their adoring parents didn’t give them. days? Millennial staff are That’s why it’s not just social media where the young The first step to fighting off your employees’ pressing really into this retro nihilism folk thrive – it’s real-world events, too. Social media can sense of emptiness is to understand why they have it. enable real-life connections by allowing your staff to Remember the environment millennials grew up in. thing, the belief that life has no feel connected and influential. Send them to an event From a young age they’ve been aware of the looming meaning and everything we do and they’ll strike up a conversation with anyone they destruction of their home through climate change, slightly recognise. Their charm and natural impulse nuclear war, or artificial intelligence running them into is pointless. This is obvious in to play hard to get will have them schmoozing just the ground. fashion retail, where fresh faces enough to make your desired client feel important, but Baby boomers (millennials’ parents) have been trying not smothered. to avoid war since their parents escaped it.

They’ve meant to draw in customers This kind of situation allows millennials to practice done this by making many grisly battle-based films instead stare sadly at the making themselves liked by strangers. They might apply and TV shows and by yelling at their offspring that this passing sense of connection to customers in-store, ground. Many millennials find suffering is inevitable. As a result, their offspring are and maybe one day to their employers. desensitised to the worst of the world. Punishment isn’t it hard to talk to customers, let a strong motivation for your average millennial staffer, FAKE IT UNTIL THEY alone sell them anything, as they because at any given moment they’re expecting a pet to die, a car to explode, or to be fired. Jobs are fleeting MAKE IT don’t believe there’s any ultimate instances of meaning, just like life.

All young staff want is a salary large enough to People who have given up on life like to put their point to it all. There’s no place pay for rent and rosé, and a meaningful existence. more exciting moments on social media. Apps like for a pretty face if it’s staring into Businesses can offer both these things.

Instagram and Twitter are covered with millennials and their grasps for a genuine connection. With an nothingness, which is why we’ve employer or mentor’s help, this feed could eventually be OFFER MEANING created this guide to combating covered in happy pictures of a fulfilling life. Scanning their own timelines will give them a sense of personal The first step is to remind them that they matter, even nihilism in the workplace. if they don’t. Why not show an interest in their lives?

Nothing inappropriate, just something about their commute or the weather. Small talk stuff. Asking about someone’s home life reminds them that they have a home, and that they left it today – a massive achievement for the miserable.

Showing them how they affect people around them is another quick way to remind them of their physical existence. If they have a satisfied customer, let them know about it. “Hey, Staff Member Number Six, that customer enjoyed buying from you and the sale rack.” That kind of thing. Encourage them to share stories about their work.

Talking about their work can help millennials understand it was significant not just for them, but for others involved – like the customers.

A bigger way to give someone’s life meaning is to offer growth opportunities. Learning how to perform new tasks gives people a sense of accomplishment, like their presence in this world might one day be fruitful.

The opportunity could be a polytechnic course, a CPR training day, or even learning how to work the office scanner.

ENCOURAGE COMMUNITY A feeling of loneliness is common among young staff members, many of whom emotionally distanced themselves from their parents at a young age, so they could embrace their true, flamboyant selves. Because of this, your average millennial is a master at making close

10 I September 2018

accomplishment, kind of like earning a university degree or getting engaged.

If they have their phones on them for work purposes – snapping pictures of new products, or geo-tagging in-store – they’re building a personal brand that ties into the company’s. Managers can guide this so they’re not misrepresenting the company with communist hashtags. This means millennials can build brand awareness while building self-awareness and maybe, just maybe, self-love.

Image is everything, and young people are soft and ripe for moulding. Pretending to be happy for long enough can be rewarded with real life satisfaction.

WHY IS CHANGE GOOD? Millennials are known for changing jobs a lot, but with the right techniques no-one needs to lose good staff members. The short-lived nature of millennials’ jobs is a sign that their sadness isn’t going to last forever – they’re looking for something to make them happy. Employers can help with that – even if just until the end of the season.

Millennials crave change, which is something hard to understand for many baby boomers. This craving can be satisfied by regular career conversations, in which they’re offered some opportunity to self-guide at work.

They might use this to guide themselves into a pop-up laser-cut earring store, but those with bigger goals will thrive.

Change is always coming in fashion, in life, and in our attitudes. No-one’s a nihilist forever (unless the unthinkable happens). The child-free, marriageindustry-killing hipsters of today have nothing to lose but the only family that really gets them – their work family. Why not use that to make them work harder?

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pparel Magazine is back for Vancouver Fashion Week! We are delighted to have the opportunity to present three emerging New Zealand designers in a group show at Vancouver Fashion Week this season. Hitting the runway this month is the designer Shannon Thompson’s label OUT OF COMFORT, Doris Lu, and Kate Fisher.

This unique opportunity is thanks to our partnership with Vancouver Fashion Week and allows upcoming New Zealand designers to showcase their designs on an international stage to a range of international and local buyers, agents, distributors, industry influencers and media – continuing and extending our support of emerging designers. For over 30 consecutive seasons, Vancouver Fashion Week thrives on inviting the most creative, dynamic talent and feature established and emerging designers.

Vancouver Fashion Week is a one-of-a-kind event that continuously brings together buyers, media, celebrities, industry professionals and innovative designers from around the world to celebrate creativity and fashion. Diversity and multiculturalism are Vancouver Fashion Week’s core values.

This semi-annual event has been host to a range of collections from street wear to eco-friendly garments. Vancouver Fashion Week is internationally known as incubator for emerging designers allowing them the opportunity at a very reasonable rate to showcase their designs on a global stage. This will form the fabric of an international network for our young designers.

We encourage New Zealand buyers to come along next season to find unique designers, both emerging and established from around the world and be front row at this fabulous event to network and discover new collections.

BE PART OF OUR NEXT SHOWCASE! Our unique group runway opportunity includes: - Venue, stage, lighting, sound - Security - Models - Shoes - Hair - Makeup - Backstage management and support - Backstage equipment - Guestlist (Including front row seats) - Fashioncamp - Media Coverage Package (worth $15,000)

We are curating our next show for Vancouver A/W19 season now!

Show your interest today.

nzapparel@reviewmags.com +64 9 304 0142 ext 715.

12 I September 2018

when the opportunity to show at vancouver fashion week came about , it was a real surprise for me so early on in my career . the decision to show was definitely an organic decision that i felt ready for . i think it is going to be really amazing in terms of growth for myself and my brand . i hope to meet with other like - minded individuals , creatives , people there too , i believe fashion today is a really collaborative space so being able to connect with others internationally will be an inspiring experience

OUT OF COMFORT Building the label OUT OF COMFORT was a natural transition for Thompson after working overseas as a menswear designer in London.

Thompson explained that when she returned home to New Zealand, it was a now or never moment. “From there, the brand developed organically,” she said. One day Thompson was discussing with a friend about the comfort of being behind the scenes. She expanded on how she pushes through her comfort zone and how that makes her feel. “I loved the way it sounded and it stuck!”

OUT OF COMFORT is built on the idea that challenges conformity and embraces self-expression.

Showcasing her latest collection, it focuses on relaxed silhouettes and exaggerated accents for added finesse. Thompson explained: “It is about having a conversation in those scary moments, defining a new space and facing your fears.” This collection was heavily influenced by photographer Jamel Shabazz’s work at the Whitney Museum of American Art in New York. “I was instantly captured by his imagery, emotion, and overall vibe that carried through his work,” she said. “Jamel’s photographs had layers of depth and colour that made me research him further, especially his street photography.” It was how Shabazz captured honest moments that Thompson loved so much and inspired her to create memories within her garments. “I wanted to create a story with an authentic process whilst keeping the fulfilling substance that represented Jamel Shabazz and his work.”

Showing her designs at Vancouver Fashion Week, Thompson is excited to represent her culture and home on an international platform. “Having worked in fashion weeks for other companies around the world, being able to be at the forefront of it all showcasing my own work under my own name is a big milestone for me.”

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I 13

DORIS LU Xingchen (Doris) Lu was born in Japan but spent most of her childhood in China. Lu felt it was it was almost impossible for her to become a designer.

“I didn’t know how to dress myself up until I turned 18,” she said. “My mother is who changed me and made me love fashion through teaching me and helping me dress up. Because of her, I fell in love with pleats and layers.”

In her end of year graduate collection, Lu designed five looks inspired by Gozen Tomoe’s achievement. “It shows the power of oneself to break stereotypes and discover his or her true strengths.

The aim of my collection is to help customers realise such power,” she added. “Specifically, I hope my collection can inspire wearers to gain the strength and confidence they need to defeat adversity and direct their own lives.”

In ancient Japan, women were often perceived to be powerless, and warfare was a mostly male affair.

This was why Gozen Tomoe left such a legend behind her. Unlike almost any other women at her time, Tomoe was an onna-bugeisha, a consummate female warrior. She entered the Genpei war as a leading commander, and her bravery and strength in battle earned her the

title of ‘a warrior worth a thousand’. Gozen Tomoe’s achievement showed the power of one to break stereotypes and discover his or her true strengths.

“In my collection, I have included many elements of the traditional samurai pants, Hakama. This is seen in the dramatically wide legs, the unique way of dressing and mainly the seven pleats. The seven pleats are divided into five on the front and two on the back of the Hakama.” The five pleats on the front represent courage, humanity, justice, courtesy, and sincerity. The two on the back represent loyalty and honour.

Since Lu was little, she had always been interested in exploring two countries’ cultures. In learning the history, Lu was shocked when she realised that while two cultures had many differences, they both had certain levels of gender discrimination against women. Hoping to make a change, she became aspired to not only fight for gender equality but also combat all sorts of prejudice. “This collection is a part of my battle, and I hope it can help people gain confidence and believe in their power to overcome adversities, just like Gozen Tomoe.”

Walking into the fashion industry Lu explained that her biggest challenge is to create a new brand in today’s fashion climate. “Customers are always after something new and unique.” Lu interviewed someone working in the Chinese fashion industry who mentioned that in China, the industry is running very fast. “It is very hard to survive if you do not renew the designs.” The other challenge is brand sensitivity. “The brand’s name has a huge impact on retailing. One of the designers mentioned that nowadays consumers are buying for brand names rather than clothes.”

Lu’s influences from both her Japanese and Chinese backgrounds give her a huge advantage when it comes to designing.

this collection is a part of my battle , and i hope i can help people gain confidence and believe in their power to overcome adversities , just like gozen tomoe .

14 I September 2018

KATE FISHER Kate Fisher has always been passionate about fashion.

She knows that’s a cliché, but she’s got the life history to prove it: she cut out paper clothes for her dolls, she learned to sew at the age of ten, and she enrolled at Whitecliffe at 15. “If I ever were to believe in destiny,” she commented, “fashion would be mine.”

After she graduated from Massey University with Honours – and winning plenty of awards along the way – Fisher interned with Kate Sylvester. Several of her designs feature in the brand’s Summer 2019 collection.

She’s been working as a tailor in Auckland since, but felt the drive to create taking over – that’s why she’s recently started her own brand. Her collection Club Daydreamers will show at Vancouver Fashion Week, and is a somewhat androgynous collection inspired by ultra-feminine looks fused with modern punk. Fisher imagines a gang of club-going daydreamers who are rebelling against conformity.

This collection is a rebellious fantasy interrupting reality.

She’s excited to see the crowd reaction at VFW. “I really want it to be fun, energetic, and have a lot of ‘wow’ moments,” she stated.

Fisher doesn’t limit her clothing to male or female markets, instead selling her garments as non-binary and universal. She acknowledges the fluidity of gender and how fashion is one of the major ways in which people express their identity and labels.

“My brand is both feminine and masculine,” she commented. “It’s powerful and sensitive, and caters to a market that accepts, and is diverse itself.” She hopes showing at VFW will illustrate that this message resonates on an international platform.

Fisher is the sole worker behind her self-titled brand, and currently only creates made-to-order garments.

my brand is both feminine and masculine , it ’ s powerful and sensitive , and caters to a market that accepts , and is diverse itself .

colour trending

GALIA LAHAV Resene Gumboot

ore is more and less is a bore, said Iris Apfel. Galia Lahav took those words of wisdom and turned it into a silhouette with layers of pleated chiffon that only reminds you of an episode out of My Big Fat Gypsy wedding. In a hue similar to Resene Gumboot, Lahav used a multitone material to create this maximal impact off-the-shoulder gown. With a sheer cut-out bodice and elbow length gloves to accessorise the ensemble, Galia Lahav has nailed the brief. Pants with tightfitting bustier tops ruled the roost on the runway along with silk, chiffon, satin, and sequins as these fabrics were used in every garment. The constant use of a silhouette design showed consistency throughout

16 I September 2018

VIKTOR & ROLF Resene Alabaster

the collection, however, was used differently in each look. Which gave us the ready to wear flow from cocktail dresses to mini party dresses and the ultimate ball gown.

Viktor and Rolf stunned with their ‘impeccable collection’ whitewashed and drenched in Swarovski crystal fairy dust. Wearable art with maximum impact seems an appropriate tagline for the Dutch designer duo. The collection is dripping in unique cut-out ensembles and usage of various elements like decaying wool, chiffon, tulle and crystals. As described by Viktor and Rolf it is a light-hearted collection that takes a trip down memory lane. With designs out of their all-time favourites including the tulle gown with clean holes carved out of the skirt

VALENTINO Resene Buttercup

and the accordion jacket set with white fan-spread shirt collars. In a hue similar to Resene Alabaster we see a woman who has just gotten out of bed with pillows in tow wrapped up in a polarizing white fall length puffer jacket.

Valentino continues to stun with the fearlessness that the ready-to-wear fall collection exudes.

Pierpaolo Piccioli and the house of Valentino stretched our imagination farther than we ever thought it would go with their use of bold prints, colours, and accessories. With a variety of gowns and skirts this collection has the answer for every maximalist. In a colour reminiscent of Resene Buttercup Piccioli created a floor-length single colour ball gown with a plunging V neckline and

IRIS VAN HERPEN Resene Half Bokara Grey

completed the look with a floral headpiece twice the size of the model’s head. Piccioli did not want to intentionally set a theme but subconsciously did so anyway with the use of loud, vibrant colours and gowns puffier than the entire baroque fashion era in the seventeenth century.

‘Syntopia’ the exploration of organic and inorganic biology and technology is how Iris van Herpen describes her latest Fall 2018 Couture Collection.

Using a technique from the Victorian era called Chronophotography she guided the draping of the garments that emulate the feathers of a bird which showed on the sculptured dresses in the collection.

In a hue similar to Resene Half Bokara Grey, van Herpen curated an eye-catching black and white

MAISON MARGIELA Resene Optimist

laser cut mini dress with maximal layers resembling peacock feathers. The laser cut technique was used frequently throughout the collection especially noticeable in the series of grey coats that were showcased on the runway.

In an extra-terrestrial universe where the world is seen through virtual reality whilst being cocooned in layers upon layers of heavy materials and cell phones strapped to the model’s limbs, Maison Margiela portrays his interpretation of the ongoing study of seductions in the millennial era. It may not resonate with your idea of glamour; however, this is the genius of John Galliano. He had the idea of unglamorous glamour and ran with it until he could no more.

Foreign as they may seem drenched in every colour

RAMI KADI Resene Chalkdust

in the colour wheel from head to toe, in a colour similar to Resene Optimist we see the model carrying just about everything she owns. Spinning heads with volumes of material and accessories on every garment - this is the definition of maximum impact and reigns supreme in the more is more and less is bore rat race.

Sweet Chaos. Rami Kadi caught us off-guard with his use of bold metallic and delicate feathering compiled onto one garment. In a hue similar to Resene Chalk Dust, Kadi showcased a mesmerizing silhouette that accentuates his rebellion against the norm. The Fall Couture 2018 Collection is anything but predictable, it is a whirlwind of confusion and clear-cut geometrical garments that include flowing gowns and fitted forms.

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I 17

designer showcase

LENA KASPARIAN Established in 2014, the eponymous label has a small team and isn’t interested in growing too fast as they fear they will lose their essence. Currently sold in boutiques across Sydney, Bahrain and Beverly Hills. With five collections under her belt, Kasparian’s latest collection features cocktail dresses and formalwear for men and women. The highlight of this trans-seasonal collection is the finale bridal gown. This is the label’s first international show. Kasparian said global recognition is important as she wants to expand the brand.

“I’m hoping to have buyers and stockists in Canada wearing my label,” she said. “It will make me feel so proud.”

6-D SEBASTIAN MASUDA The label debuted in 2017 with designer Sebastian Masuda with a small team of ten. “The name ‘6-D Sebastian Masuda’ came from the sixth dimension, the six senses and also my first born brand ‘6%DOKIDOKI’,” he said. He developed a collection that conveys his own message through fashion.

Masuda’s collection is showing at Vancouver Fashion Week is titled ‘Reboot the Kawaii’; he added that a highlight is the materials and colours used throughout. He explored the meaning of Kawaii and what protects that part of their spirits.

This is the first time the label is showing at Vancouver Fashion Week, the team hopes to make their international debut show a success, and to make it a pillar of future activities. Available only in Japan, 6-D Sebastian Masuda can be found on their online store and occasional pop-ups.

HOUSE OF YAS Cuban-American fashion designer Yas Gonzalez is the artistic force behind House of Yas. She’s young but accomplished, having already launched a swimwear line and had her designs worn by an array of designers and influencers in film, print, and on the red carpet.

Gonzalez is the lead designer on her team and has an influence over every garment created. The collection showing at Vancouver Fashion Week is inspired by Cuba, which has the team excited. “My experiences as a young girl in Cuba come to life in this colourful collection,” Gonzalez described. She personally shot each image transferred on to the fabrics, as they’re all of places

18 I September 2018

that mean a lot to her. The Church she attended as a child, her greatgrandmother’s kitchen tiles – this collection is a colourful, authentic depiction of Cuban life.

It ties into the wearable art trend currently on the rise. The colourful clothing tells a story but is also a real visual treat.

This is Gonzalez’s first time showing at VFW, and she couldn’t be more excited. She hopes the public will enjoy her garments, as they’re a representation of herself as well as her brand. “This collection is Cuba through my eyes,” she commented.

House of Yas is available from her studio in Miami or online.

KAN BY PAULINA HERNÁNDEZ Paulina Hernández launched her brand Kan last year, but the project was brewing for a while before that. Kan is a Mayan word meaning seed. “All of us are born just like a seed,” explained Hernández. “With time and experience we start growing roots and flowers, and spreading out and creating new roots”. That’s Kan, it’s what Hernández hopes to reflect in her brand.

Already Kan has spread its roots out from Mexico and around the world. The team behind it is composed of many branches of Mexican culture: from the five-person manufacturing team through to the three communities of Wixáritari people – an indigenous Mexican population – that do the embroidery.

The collection looks as organic as its origin with the colours and prints coming to life to create magical pieces of Huichole-inspired and made clothing. Each garment is unique and imbued with the culture and history of the artist who made it. Hernández wants

to incorporate the Wixáritari/Huichole culture, which is rich in colour and and Temiqui, which means dream in Nahuatl.

She does this to empower their tradition and their community, and to give them a voice in other parts of the world so that the beauty of indigenous Mexico can be known to others.

This is Hernández’s first time showing at Vancouver Fashion Week – or, in fact, any fashion week. Hernández commented that the team is “excited, honoured, but most of all thankful to be here with such wonderful people”.

Showing at Vancouver Fashion Week is a huge opportunity for Mexican style to get international exposure.

Kan has invited attendees to take part in the cosmovision of the unknown Mexico.

Hernández hopes guests at the show will fall in love with the culture as much as she has. In addition to this, Hernández hopes to learn from the best. “I would love the opportunity to meet new people and maybe put down roots in Vancouver,” stated Hernández.

Kan is currently available online, or in-store at their Merida and Guadalajara locations.

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apparelmagazine.co.nz

I 19

ERIN CLARE BRIDAL Based in Noosa on the Sunshine Coast in Australia, Erin Clare Bridal launched in 2002 with a focus on creating unique wedding gowns for the fashion-forward bride. The label is synonymous with romantic yet edgy bespoke gowns created with exquisite fabrics. Designer Erin Clare Oberem has a handpicked team of eight working on her brand. Her pieces can be found in boutiques in Sydney, Melbourne, Brisbane, Los Angeles and from her very own Honey Myrtle Studio in Noosa.

You can also have a browse online at www. erinclare.com.au.

The collection she is showcasing at Vancouver Fashion Week is titled Eclipse. It embodies a laid-back elegance and was inspired by an array of incredible women they have had the honour of dressing for their big day. “We focused our attention on fabrics and silhouettes that

would excite and flatter the modern bride,” said Oberem. “Eclipse features unique laces that embrace nature, laces embellished with feathers, flowers, leaves, stars and butterflies.” The collection’s colour palette is soft white, ivory, and a range of soft nude tones.

Oberem added that there are a lot of highlights in the Eclipse collection. “For me, it would be our beaded lace Eadie gown and our star covered Luna gown.” This is the first time Oberem is showing her designs at Vancouver Fashion Week and she can’t wait for her show. By showing at Vancouver Fashion Week, Oberem explained that social media has been fantastic in reaching international brides ordering directly online. “We hope to stock some boutiques in Canada and the USA.”

JNORIG JNORIG is a combination of Javier Giron’s first name and last name – the J in Javier and Giron spelled backwards.

These apparent opposites reflect the name of Giron’s first collection, Two Opposite Worlds.

Giron moved from Colombia to Germany at the age of 12, and the sudden contrasts had a considerable impact on his worldview. Brutalism and Modular architecture are particularly inspiring to him, and combine with his family history of South American dressmaking to create an artistic output that truly is the melding of two opposite worlds.

This is the menswear brand’s first time showing at Vancouver Fashion Week.

The collection is called Complex Minimalism and refreshes the

PARASITE EVE DESIGNS Paying homage to an old video game, Parasite Eve Designs was created in 2011 by Eve Jenkins. “The game was a favourite of mine, and my friends came up with the name because they thought it fit.” Jenkins first started in fashion working in costuming for several years, where she wanted to create more original designs. Alongside Jenkins is her co-designer Andrew Flatland who focuses on headpieces and accessories.

Available online at www. parasiteevedesign.com, the collection she is showcasing at Vancouver Fashion Week is called Labyrinth and is based on the world of fairytales, myths, and legends. Each gown is unique within the collection and is based on ancient gods,

20 I September 2018

concept of merging cultures. “Our idea is to break with social, political, and religious boundaries,” explained Giron.

“We chose to express this by merging the simplicity of the Amish lifestyle and the complexity of Native American tribes, who both live life on limited resources.”

Giron hopes that showing at VFW will gain the brand a broader audience on the international stage. The clean lines and bold structure are sure to fit into the Spring-Summer buyers’ budgets.

The team behind JNORIG is small – only four people – with Giron acting as creative director, pattern maker, and studio manager. This hasn’t stopped the brand from producing multiple culturemelding collections and having stockists all over the world. It can be found in Barcelona, Berlin, Dubai, and Los Angeles, and it’s also available online.

goddesses and other mythological creatures.

By showing at Vancouver Fashion Week, Jenkins wanted to do a larger scale show outside of the United States and when she was approached by the team it was the perfect opportunity.

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beauty spot

Eight Top Looks at NZFW HAILWOOD As glamourous as a New York 1970’s disco dance floor, Hailwood worked with M.A.C. in creating a stunning high-shine cherry lip – adding a bright statement to a clean and fresh makeup look. The skin was absolutely glowing with Peachlite Strobe Cream, and the eyes were lightly tauped, leaving them fairly simple to really allow the lip to stand out. Classy and bold, the models looked gorgeous.

LELA JACOBS Drawn from the idea of dazzling, far away galaxies, a beautiful look of simply glowing, ethereal skin was created. Vibrant eyes added a burst of colour to the abstract style using M.A.C. Primary Yellow Chromographic Pencil. Perfect skin was achieved using Studio Finish concealer where needed, and life was given to the face with HyperReal FX in gold and Back in Vogue Retro blended into the cheeks.

HUFFER Youthful, effortless and fresh, models for Huffer looked flawless and natural with a classic centre part tucked behind the ears. Redken’s Beard and Skin oil made the hair look soft and flexible as it was blow-dried and brushed for polished and gentle movement.

Inspired by Brooklyn street graffiti, a splash of neon colour across the lips with M.A.C. Magenta Madness pigment adding something extra to the natural makeup look.

KATHRYN WILSON Featuring a bold cat-eye and bright red lips, it was marching band meets Chicago with M.A.C. and Wilson’s glamourous beauty look. The feminine makeup was achieved by making the face body glow with Strobe Cream and Extra Dimension Skinfinish in beaming blush and telling glow.

Eyes lined with gold and white glitter shone immaculately and lips painted in Feels So Grand stunned in a chic and dominant look.

STOLEN GIRLFRIENDS CLUB Solid references to post-punk, new wave and underground club culture were made by hair and makeup artists from Redken and M.A.C. Loosely pulled up into a topknot with a scrunchy, the hair had an unconventional style and was flipped to one side in reference to the era. The wild style paired beautifully with M.A.C.’s punk scene look, as the models’ skin glowed and eyes popped in a bold and dominant smoky effect. The complete style definitely gave off a fearless vibe.

WYNN HAMLYN Glamourous waves with a disheveled feel, L’Oréal worked with Wynn Hamlyn to complete a lived-in hair look to go with the designer’s ‘Hallucinogene’ collection. Inspired by US Government experiments with LSD the hair gave off the look of an office worker who experiments in the weekend. With excellent texture and movement, Tecni.Art Crepage de Chignon Mineral Powder Fixing Spray completed the look with a modern feel.

22 I September 2018

TRELISE COOPER Hair and makeup on Trelise Cooper’s runway looked perfectly dramatic as the beachy pony-tail was exaggerated with pearlised colour stencils using L’Oréal Paris Colorist 1-Day Colour spray.

The sparkling look was complimented by M.A.C.’s chic and futuristic look with a soft lip colour and holographic-type eyes. Skin was made just as radiant with a subtle Pinch O Peach powder blush. This overall style was undoubtedly memorable.

RACHEL MILLS Idiosyncratic and inspiring, L’Oréal hair flaunted the comeback of the big hair volume prominent in the early 90s at Rachel Mills’ runway. Natural textures were enhanced, rolls were created, and curls were embraced on the models, inspired by Mills’ classy, fashion-forward garments. Fly-aways and textures were let free to give off a feeling of effortless beauty and grace.

designer focus

EDMUND HILLARY Sir Edmund Hillary’s children are as unstoppable as the great man himself. The family has developed a collection of functional, fashionable mountain wear in partnership with designer Dean Batty and brand co-founder Mike Hall-Taylor.

A decade ago Hall-Taylor and Peter Hillary came up with the idea to create a line of clothing inspired by the outfits worn on Sir Edmund Hillary and Tenzing Norgay’s famous summit climb. The clothes were cutting-edge in the 1950s and many of the designs stand up in today’s market.

Hillary wanted to create a legacy for his father by modernising these garments, which he and his two sons have worn while climbing the seven summits – the tallest mountain on each of the seven continents. Peter, George, and Alex Hillary have all had plenty of input into the designs – they’re the ultimate test group.

The Hillary family worked with Batty to select a design route. They went through photo albums from the 1953 expedition, as well as other momentous occasions in their patriarch’s life.

Batty has 30 years’ experience in the clothing industry and is based in the UK. This is necessary due to the more complex manufacturing of some of the garments; some techniques are the same as those used to construct the original expedition wear.

Batty’s experience spans the successful launch and development of other iconic brands in this market sector, like Napapijri, Fat Face, and Shackleton.

One of the most iconic designs this team created is a replica of the jacket worn by Ed Hillary during his ascent of Everest. The Summit is a replica of the bright Royal Blue fabric originally worn but is made with Ventile and has updated brass accessories.

Their down-fill parkas are filled with ethically-sourced down, and can keep out some heavy cold – the Ice Fall emulates the parka worn by Tenzing Norgay in that famous near-summit photograph.

To retain authenticity, the team behind the Edmund Hillary range has deliberately used original materials rather than using more modern technical options – this collection is not technically climbing gear. That’s no problem for the brand - if they could climb Everest with it in 1953, it’s good enough for a ski trip to the Alps.

That, in the end is what this launch range is about – one foot in fashion, and another in function.

Just like Sir Edmund Hillary himself, the brand doesn’t intend to stay put in New Zealand. The brand doesn’t just replicate his clothing, but also intends to build cornerstones all over the alpine world. Dream sites

for the brand include the hardy peaks of Whistler and Aspen, alongside ski fields in the European Alps.

Proceeds from each item in the seasonless luxury winterwear collection will go to charities founded by Sir Edmund Hillary. These are schools in Nepal and outdoor pursuit charities for young people.

The range is targeted at men – don’t let granddaughter Lily’s striking presence in the fashion show fool anyone.

It’s meant for those with a high disposable income and a spirit of adventure. Future collections will include womenswear, and the brand hopes some of its next releases will include technical garments. This launch was a trip down memory lane, and a fashionable ode to Sir Edmund Hillary’s legacy – but it’s not over yet. The Edmund Hillary brand will continue to evolve for years to come.

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nzfw gallery

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student life

YOSHINO MARUYAMA MASSEY UNIVERSITY

MICHELLE MACKY MASSEY UNIVERSITY Michelle Macky has always had a creative mind and has taken art, textiles, and photography throughout all her schooling years. After finishing college in Waihi, Macky decided to attend Massey University to further her training in textiles. “It was an area of design where I was able to explore multiple formats of creating texture, colour, and designs,”Macky said. Macky graduated from Massey University in 2011 with a Bachelor of Design with first class honours, specialising in textile design.

After taking a year off, she gained funding from the Ministry of Innovation and Science to complete her Master of Design with Distinction in 2014.

From a young age, Macky took sewing lessons and planned on studying fashion design. “I fell in love with textiles, as I felt it provided more opportunities within fashion or interior design”. Macky sees textile design as a more hands-on approach with plenty of creative outlets to choose from. The designer has now developed a strong interest in the technical process of weaving after her recent project where she was able to create the entire fabric out of yarn, fibres and weave structures.

Macky believes textile design is a multi-faceted industry and that with every course she has taken during her training she is able to apply to her day-to-day design processes. Having access to the dobby hand and AVL digital handlooms at Massey University were vital to the development of Macky’s weaving experience and knowledge.

Macky is inspired by bright colours, bold geometrics and textures and works with any materials or colours.

Macky describes the design process for her as “trial and error with a lot of perfecting”. Working with natural fibres is important to her and the use of New Zealand wool especially with her personal designs. In terms of labour hours, this can vary depending on the nature and size of the job with digital prints and developing weaves taking a couple of weeks to come to fruition.

“Having the ability to revamp, mend or create my own wardrobe is priceless.” Macky firmly agrees that sewing is an invaluable skill and describes growing up in a household where her mum would sew and mend her clothes.

After graduating Macky has held many positions in the industry from lead designer, creating interior throws and blankets with a heavy client relation. To her current role as a product development executive at James Dunlop Textiles, where she develops designs from a wholesaler perspective.

The biggest opportunity in the future for Macky would be to utilise the technical knowledge about weaving that she has acquired and apply it to the digitalbased design of textiles. Macky does not currently run a store but it is something she would love to consider in the future.

26 I September 2018

Yoshino Maruyama’s eponymous collection is an exploration of the Japanese aesthetic, most notably the famous kimono. Maruyama has taken elements from the kimono – rectangular shapes, ties as fastenings, and silk organza – and made modern pieces out of them.

The finished garments are streamlined, fun, and chic, combining the best of traditional Japanese fashion with modern-day style. Maruyama was inspired by Rei Kawakubo and John Galliano’s work at Margiela.

She’s also inspired by art, food, and the people around her.

Maruyama grew up in Christchurch but hasn’t left Wellington since she moved there for university – she’s currently completing a Master’s in Design at Massey.

She interned at Kate Sylvester and at Kowtow, learning from both and applying the skills to her current collection. She is still at Kowtow, in the role of Junior Assistant Designer.

Maruyama sees ethical and sustainable fashion as a huge challenge for the industry, and considers her growing career an opportunity to help businesses think about making their practices more environmentally sound.

She’s particularly interested in working with new textiles and people at the forefront of sustainability in fashion.

She showed in New Zealand Fashion Week last year, and the highlight of her experience was seeing all eight of her garments together backstage.

YATING LI MASSEY UNIVERSITY Yating Li has always had a passion for fashion. As an international student from China, Li found that the curriculum structure in New Zealand places a larger focus on developing creative and critical thinking. Even as a high school student studying fine art, Li believes that fashion has shown her that she is able to transfer her skills and perspective into 3D form. Now as a fourth-year design student at Massey University, Li is grateful that throughout her training the focus has not been solely on the outcome but more the development process. Which allows the designers to create a comprehensive design process and maximise the learning outcome.

Primary colours and textured fabrics excite Li and combined they make up the garment that she is most proud and fond of. Created for the Arts of Fashion and Wallace Cotton competitions in 2018, the young designer took first place for this garment at Wallace Cotton and although it did not place at Arts of Fashion it will remain one of her favourite pieces.

Inspired by Japanese Avant-Garde designs especially Issey Miyake, Li sees the unlimited possibility of fashion design. The young student believes it no longer is just about

clothing that people wear daily, but also a platform for designers to translate their imagination into a tangible reality.

Li prefers designing that is the part of the process where anything is possible, and she can allow her imagination to run free. For Li, sewing is an invaluable skill “sewing is not difficult, everyone can do it, but you need patience.” Even though she prefers designing, Li believes that sewing helps her to think about the functionality of the garment which is also very important.

As a very hands-on designer, Li finds the biggest challenge in her trade is the constant development of technology. The fashion industry is moving faster than ever before, and Li recognises that for her to be competitive and efficient she will need to constantly upskill her digital capabilities.

“Fashion has become an international language and consumers are gradually changing their consumption on fast fashion, sustainable fashion, and avant-garde.” Li believes that this gives young creatives like her an incredulous amount of freedom to present themselves and their work.

After her studies at Massey University, Li would love to open a storefront and an online platform to sell her garments.

GRETA MENZIES MASSEY UNIVERSITY The weirdness of life and those who explore it inspires designer Greta Menzies. Including people like scientists, musicians, artists, designers, and filmmakers.

“Things that strike the balance of ugly and beautiful,” she explained. Living in Wellington with her partner and three kids, Menzies worked as a freelancer for the past ten years while continuing to make her own work.

Her label is called YESYES which Menzies described as being on a slow burn and will launch in the near future.

During her studies at Massey University, Menzies switched to textiles from fashion because she thought it would involve more drawing. She added that at Massey she had a lot of access to their tools, particularly the digital embroidery machine and the rug tufting gun.

Menzies got her start in the industry by winning a competition for a t-shirt design, and then got hired by

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the label. Since then she has worked with an array of brands like Starfish, Make/Use, Kowtow, Black, Otsu, and Thunderpants.

Working with organic cotton, linen, wool, and silk; Menzies works predominantly with natural fibres and labels that care about quality. The creative process of creating textiles consists of reading and researching, drawing, reflecting, and refining. “This process speeds up quite a lot if it’s for a client with a deadline.”

Concerned with her impact on the environment, Menzies added that if New Zealand has a good polyester recycling facility she would definitely consider it. In the future, she’d love to use Pinatex, a leather made from pineapple husk fibre. The entire process is optimally two to three weeks long, but fluctuates depending on what it is for.

Her interest in textiles blossomed in high school without knowing it. She worked out how to screenprint in her garage, and how to machine embroider

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on her home sewing machine. “I’d make clothes for myself and friends, I didn’t know it was a thing you could study until I went to university.” Her first year at Massey was quite the learning curve; Menzies learned how to develop her conceptual and design process as well as managing time. “I also had surprise twins in third year, that was a challenge!” Straight out of university, Menzies was offered an internship at Mary Katranzou, but had to turn down going to London because her children were too young. “But they gave me some long-distance work to do including some fantastic digital-print Photoshop challenges which were really tricky,” she explained. “It was a good confidence booster to apply my university skills with success.”

Moving forward, Menzies said she is at a point where she’s had a good amount of experience working with brands, and she would like to use the knowledge she’s gained to spend time making her own label.

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in detail

STOLEN GIRLFRIENDS CLUB We spoke to Stolen Girlfriends Club’s Marc Moore prior to their New Zealand Fashion Week show. In their forward season collection, New Sincerity, Deep Irony, Moore explained that there are a couple of standout pieces that differ from previous collections. “The first thing is more of a general thing rather than a particular piece.

It’s the tailoring. It’s the suiting. We’ve got this flawless relaxed man-vibe suiting that a lot of the girls are wearing and it looks fantastic,” he said. “It’s so effortless.”

Moore continued by saying the brand isn’t known for their tailoring, but the team likes to dabble in it now and then. The result? “It’s just beautiful, and to contrast that, there’s this freaking glam 80’s dress that is this random pink magenta.” Dubbed by the team as Magenta Metal, the dress looks like it’s straight out of the 80’s and juxtaposes everything else in

the collection. The fabric for this dress was sourced from China, Moore said it was the craziest piece they have. He also noted that the suiting was a nod to the brand growing up a little bit.

“We can rock, but we can rock safely.” With the largest line-up of models from the whole week, Stolen Girlfriends Club had 40 models. Moore added that most of them are now friends and family.

New Sincerity, Deep Irony has 190 styles, not including colourways, Moore added that the title is two opposing semi-titles wrapped in one. Prior to the show, Moore was a bit nervous but quickly relaxed because they have such a great team working together.

Showcasing as part of New Zealand Fashion Week benefits the label as they capitalise on the hype that fashion week generates. “New Zealand Fashion Week gets our brand out to an audience much wider than we would normally reach,” he said. “So, that’s great.” Moore added that last year, the New Zealand

Behind the scene photo by Apela Bell

Fashion Week team flew down a buyer from a store called Essence in Canada. “They picked us up as a direct result of us showing at New Zealand Fashion Week, and that blew me away,” Moore said. “We actually get cool things happening from doing New Zealand Fashion Week, we don’t just slave away and spend all our money and energy on the show and get nothing. We piggyback on the hype.”

Runway photos by Getty

fashionable films

BLINDSPOTTING Humourous, dramatic, and full of powerful and genuine points about the world, Blindspotting presents comedy, a satire of gentrification, and sober drama. African American man Collin Hoskins (Daveed Diggs) is trying to sort out his life upon release from prison.

His relationship with volatile best friend Miles (Rafael Casal) is tested as he is witness to police shooting a suspect in the back during a chase through the neighbourhood. Set against the backdrop of Oakland, this film tells the tale of friendship and intersections of class and race. The revealing film features both magnetic stories and hilariously awkward moments, making it into a truly exciting movie.

Costume director, Emily Batson worked to ensure each character’s outfit fit in with their personality and background with streetwear and distressed jeans making a frequent appearance. Colours of the items stayed relatively dark and earthy to blend well with the down-to-earth theme in the film. The costumes kept the characters level and real with nothing to exaggerate. Masculinity was highlighted with denim and leather jackets in dark colours and loose-fitting pants or jeans. Costume design added perfectly to the background of the movie, tying in with each character, making them appear relatable as the film went on to dig up heavy hitting societal issues.

28 I September 2018

CRAZY RICH ASIANS Featuring a well-rounded balance of laughs, thought-provoking moments, and tear-jerkers, Crazy Rich Asians is an incredibly vibrant and glamourous film with an all Asian cast. Rachel Chu (Constance Wu) is a New York economics professor who follows her boyfriend Nick Young (Henry Golding) to Singapore to his best friend’s wedding. Upon arrival identities are revealed, disapproving parents released, and jealous socialites appear. Throughout the drama and exaggerated comedic fun, valuable lessons about money and love are learnt.

Costume designer, Mary Vogt shaped the looks of the characters; working to create a stylish high-society tableau fit for the crazy-rich Singapore set. Luxury and glamour was a strong theme throughout the film’s wardrobe, with each item fitting

to individual characters. Silky, flowing and classy pieces were given to Nick’s cousin Astrid Leong to shape her character’s status as an icon of chic fashion in Singapore.

Rachel’s comedic best friend was clothed in a unique, colourful and unconventional wardrobe befitting to her personality and wealth in a newly rich family. Male characters were adorned in masculine yet expensive-looking suits and tuxedos and females dressed brightly in a mix of short and long flowing gowns, emanating luxury.

Rachel’s garments presented the contrast between affluence and the middle class as her wardrobe ranged from professional in New York, to stunning and courageous dresses as she presented herself elegantly and more confidently to fit in with the wealth of Nick’s Singaporean friends and family.

Accessories trends: which jewellery category has Instagram killed?

The accessories category is enormous, accounting for 18 percent of the apparel market. It’s beaten in size only by the tops category. But aside from widely discussed bag trends, the category’s other players get little room to shine. Let’s fix that.

Not only is accessories big – it’s growing. So far this quarter, the entire market has 4 percent more product retailing that last year.

Some of the biggest gains come from department stores. John Lewis currently has 44 percent more product in stock now than a year ago, Nordstrom 36.5 percent and Macy’s 8 percent.

For many department retailers, who’ve struggled to capture customer loyalty in an age of direct-toconsumer, compelling accessories assortments – often on the ground level of stores – lure shoppers in.

Surprising, ASOS and Boohoo have both trimmed back their accessories category by an identical 16 percent.

WHAT COUNTS AS ‘ACCESSORIES’?

We need to peel back the layers to truly understand what’s happening, as the accessories category is large and varied. Something we’ve invested a lot of time perfecting at EDITED is how to categorize products.

If you think about it, there’s no universal standard for how to describe a product. Jewellery represents the bulk of the accessory category.

So we built artificial intelligence that uses its smarts to organize 16 million products a day. We do that so brands and retailers can accurately compare assortments globally.

Our software recognises jewellery and watches, hair accessories, bags and purses, hats, sunglasses, belts and scarves and gloves as belonging to the accessories category.

We dug a few levels deeper on that shrinking and found a few things. Firstly, both ASOS and Boohoo have cut back the size of their entire offering since this time last year – down 5 percent at ASOS and 2.5 percent at Boohoo.

Still, 16 percent down on accessories outpaces the general stripping back. Looking at just accessories, jewellery is down by 23 percent at both retailers.

We found that ASOS has cut back on necklaces by 48 percent and Boohoo by 34.5 percent. Bracelet and rings are also down, while earrings are up.

That put us onto something. Does the wider market have a necklace problem?

NECKLACES IN DECLINE In a word – yes. There are currently 8.6 percent fewer products available than last year.

Necklaces are in a steady, if not alarming, decline.

Bracelets have fallen by 2.7 percent and rings by 3.2 percent.

Earrings, cufflinks, charms, brooches and anklets have all eaten into that space, with increases from as little as 2.8 percent (cufflinks), up to 36 percent (brooches).

Earrings are taking over from necklaces. We can pinpoint exactly when earrings took over from necklaces – the third quarter of 2017. Earrings overtook necklaces in Q3 2017 and have been arriving in higher levels ever since.

Consumers quickly followed, with sell outs lifting in December 2017 and climbing dramatically through the second and third quarters of this year.

That one-quarter delay is worth remembering for any retailers looking to back the growing anklet and brooch trends.

Product sell outs have rocketed in 2018 as consumers latch onto the earring trend. Statement earrings are big news, whether it’s abstract gold shapes, oversized hoops, colourful tassels or bright Perspex.

Singular earrings are growing at a rapid pace too – up by 29.5 percent in two years. There has been an increase in the trend for multiple piercings per lobe, with small hoops on the second, third and fourth piercings. That’s driving an uptick in mismatched combinations of earrings.

And it turns out the fewer earrings you buy, the more they’ll cost! The average price right now on a single earring is $739.62, while a pair comes out at $417.02 and a whole pack at $21.60.

From this you should read that the luxury market’s backing of singular earrings is going to drive this trend further.

When you think about it, it’s pretty obvious what is influencing the popularity of this product. It’s something we reported on a year ago…selfie-taking.

Call it the Instagram effect – when you’re taking pictures of your face, earrings have a better chance of getting in shot and making a statement about which kind of cool you are. And given the soaring interest in beauty, when influencers are sharing, they’re sharing face (and ear).

For the same reason, hat and sunglasses trends have

edited

been fast moving this year, with berets, baker boy caps, oversized straw hats and tiny winged frames all taking over our feeds.

But if you’re well stocked on necklaces, don’t despair. Necklaces are starting to return to our Instagram feed – there’s just one difference: you have to layer up multiple gold chains.

Just like the single earring trend, it’s the consumers’ need to show they’re able to curate their look – they’re beyond picking up the first thing they see and choose instead to flaunt their tastes by pairing and layering things up. It’s also spurred a whole new angle of selfietaking…

Take a look at your necklace assortment and start stripping back on ‘statement’ pieces, instead introducing a range of lengths of finer styles that can be built up.

Accessories trends for Fall 2018 and beyond Pearls – Marni, Roksanda, Delfina Delettrez and Burberry are just a few of the luxury names using pearls in their jewelry lines right now.

Mismatched pairs, or singular earrings were huge on the Fall runways, and will be a consumer hit by Spring 2019.

Pearls are also appearing in footwear, by the likes of Nicholas Kirkwood and bags,

by Gucci and Simone Rocha. This one is going to be big.

Coins & Medallions – for this one your memo is ‘anything that looks like it might have been found in an archaeological dig’. Historic coins and emblems from any of the ‘ancients,’ whether it’s Greek, Roman, Egyptian or Ottoman. Put them on anklets, earrings and pendants of varying lengths and weights.

Animal prints – A big Fall 2018 trend in apparel, the canny fashionista will be mixing her animal prints with clashing animal printed accessories. Faux fur bags, blanket scarves, acetate printed earrings and large resin bangles should be your go-tos.

Bucket hats – these were hot for Spring 2018, and showed up on the men’s 2019 runways. Keep them in your assortment through next year.

Brooches – held at arms length, a brooch will make it into shot for a selfie. This item, which has had a quiet few years will make a comeback on the lapels of colourful statement winter coats. Abstract Memphis shapes and large florals will work best.

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