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WHY I I DON'T WEAR FAST FASHION Caitlan Mitchell, Editor, caitlan@reviewmags.com
CHAIRMAN PUBLISHER ADMIN/SUBSCRIPTIONS EDITORIAL DIRECTOR EDITOR EDITORIAL ASSOCIATE
t was absolutely amazing to see so many Kiwis jump on the bandwagon to support locals during the nationwide lockdown. Despite this, I couldn’t be more disappointed to see this fall away as we entered Level 2, Newmarket was quickly packed with shoppers holding their fast fashion purchases. So I thought I would share why I don’t have any desire to shop from international fast fashion giants that help almost no one in New Zealand (except for creating jobs in their mega stores). There are a million reasons not to wear fast fashion, but my core reason isn’t what you think… Fast fashion isn’t special. It’s not unique, and going to thousands of fashion events around the world has led me to never want to see another person wear what I am wearing. It’s the exact same reason why I don’t buy into mass-produced luxury brands like Gucci or Louis Vuitton. It’s just expensive mass-produced crap. Sorry about your Gucci belt you just paid an arm and a leg for – it’s basic. If you rock up to a fashion week wearing nothing but Gucci it’s either for imaginary clout or you are actually brainwashed into consumerism. You will find me rolling my eyes so hard they might just fall out of my head… Mass-produced fashion whether it's luxury or fast, has no appeal to me because it doesn’t have a wow factor, and I want to have fun. I also know where my clothes were made and by who which is extremely rewarding. I recently tried on a dress that was in the back of my wardrobe that I bought from H&M, it was almost a decade old. I tried it
Peter Mitchell
Raymund Sarmiento Debby Wei
Kieran Mitchell - kieran@reviewmags.com Sarah Mitchell - sarah@reviewmags.com Caitlan Mitchell - caitlan@reviewmags.com Janet Guan - janet@reviewmags.com Sophie Procter - sophie@reviewmags.com
CONTENT MANAGERS
GRAPHIC DESIGN TEAM
Tania Walters - tania@reviewmags.com
on and felt terrible. Not because it was from an evil fast fashion monster, but because I felt cheap. The fabric was a horrible polyester, the hem was less than impressive and overall I felt meh. It didn’t fit right and I didn’t feel like me. My first wardrobe breakup moment was when I was about 15 years old. My brother had friends over spontaneously (a bunch of boys about three years older than me) and I was in pyjamas. Colourful, patterned mismatching pyjamas. The LOOK on their face. I was so embarrassed. That day I vowed never to own anything I would be embarrassed to be seen in. Goodbye grey sweatpants. Goodbye horrendous slippers, goodbye Ugg boots. The underlying truth of this is clothes can make you feel powerful. Confident. Don’t get me wrong, of course I own comfortable clothes, but I could easily slip on some shoes and go out. From silk pyjamas made on Waiheke Island by Willa & Mae to the loungewear by Kowtow (made ethically overseas), each piece is an experience to wear. And yes, I can go to the supermarket in it without someone thinking I was hungover. I am so proud of each piece of clothing I wear. I love getting my clothes made right here in New Zealand, helping another small business continue to do what they are passionate about. Are you supporting your local? As our first FENNEC Fashion Issue, we explore New Zealand and oceania designers who we love and support. Enjoy the issue.
Caroline Boe - caroline@reviewmags.com Felicity Flack - felicity@reviewmags.com
ISSN
Suite 9, Level 3, 20 Augustus Tce, Parnell, Auckland, New Zealand PO Box 37 140, Parnell, Auckland, New Zealand +64 9 304 0142 FENNEC is published bimonthly under licence by Review Publishing Co Ltd. Please direct all enquiries and correspondence to FENNEC. The opinions and material published in this edition of FENNEC are not necessarily those of the publishers unless specifically stated. All material appearing in FENNEC is copyright and may only be reproduced with the consent of the publisher. Copyright 2020 FENNEC Magazine.
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100% NZ owned
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MIA LAWSON Mia Lawson has recently graduated from AUT with a Bachelor of Design, majoring in Fashion. Currently, she is travelling through South East Asia which has been incredibly eye opening. Seeing the mass pollution and the amounts of plastic waste along the beaches has been impactful in Lawson’s life. “If I am to work in the fashion industry, I want to make a difference through something I love doing.” Lawson surprisingly has not been in the fashion world for too long. She planned to study textiles at University, as a child she had always had a strong interest in fashion, so she decided to listen to her instincts and follow her passion. Through her studies she has learnt a lot from the mistakes that she made during her design and production processes and aims to improve on them with every new project she takes on. “I found the most important skill to improve on, time and time again, was time and production management. I found that being proactive and giving myself early deadlines to allocate room for improvements were saviours for finishing my graduate collection on time.” Lawson’s graduate collection is vibrant in colour made with 100 percent silk
taffeta and 100 percent viscose knit. Her decision to use these textiles so intensely in her collection was to help her embrace the feminine aesthetic; a design aim in her graduate concept. Lawson’s graduate collection is influenced by the natural cycle of floral beauty. “I would have to say this collection is very true to my nostalgic and feminine aesthetic, which is obviously shown throughout my work.” The inspiration for this collection stems from the loungewear fashion of the post-war era in the late 20s – 30s. The inspiration extends to the beauty ideals put against women at the time and how this is still an issue to this day. “This is why I wanted to base my collection on enhancing and embracing a woman’s natural beauty.” After interning at Leo + Be, she has gained valuable industry knowledge, however, she is hoping to branch out to social media to showcase her own work for those who are interested in her designs. “In the future, I would like to have my own boutique that supports startup and New Zealand designers that have a similar ethos to me.” For more information, email mia-hl@hotmail.com or find her on Instagram @mialawson_.
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CAITLIN CRISP Strongly influenced by her surroundings, designer Caitlin Crisp took inspiration from her old studio in Kumeu which she was very fond of. Key points she took from her previous space was the earthy colours, tones, and paired this with natural fibres that are easy to wear. The pieces are designed as everyday effortless garments which were akin to what Crisp wears herself. “I always design things that I would wear and suit my lifestyle,” she explained. “If I can’t see myself wanting to wear it to multiple occasions then it doesn’t make it to production. So naturally, I was inspired by my everyday surroundings.” Crisp described her Season Two collection as easy to wear, modest, elegant pieces for everyday wear. Made from mostly natural fibres, Crisp said this was because the fabrics felt good against the skin, are comfortable and durable. “We have used a lot of merino and created our first fully fashion knit style in 100 percent merino made here in New Zealand,” Crisp added. “I’m really happy with it and it has been well received by retailers.” Highlighting the knit, Crisp said it is one of the hero pieces of the
collection as a lot of designers produce their knits offshore, and her knit is not only made locally but is also unisex. The knits were fit tested on a variety of men and women to get the final product. With the whole collection being made locally, each piece is made in very limited runs. Crisp added that the price point was excellent for New Zealand made garments, making buying locally more accessible to a wider audience. All of the samples were made by Crisp and her team of talented Auckland-based sewers. “The fabrics were sourced through local fabric merchants and the entire collection is made here in Auckland,” she said. While there are no repeat styles for the season, Crisp followed a similar range plan of dresses, tops, and pants at the same price point as last season. The first drop of the Caitlin Crisp Season Two is available online and in-stores late March, with a second drop in May. Crisp has already taken wholesale orders for the first drop, but there is still time to make orders for the May drop. For more information or to become a stockist, email info@caitlincrisp.com.
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Kajal Patel grew up finding herself always gravitating towards interesting textiles and details found in clothing, especially those seen in traditional Indian garments. This interest translated swiftly to her most recent graduate collection named ‘Naam’, which celebrates and explores the combination of Kajal’s two worlds; her Indian cultural heritage and her life in New Zealand. ‘Naam’ celebrates the significance of textile and dress heritage that is in the heart of Indian clothing. This collection highlights elements in traditional clothing from Gujarat and Indian such as the sari’s pleating, draping and rich tasselling detail. In conjunction, this collection also sees informal and asymmetrical shapes that represent the relaxed and unique New Zealand lifestyle. In a bold colour palette of rich mustard yellows, bold greys and blacks in luxurious textiles it is hard to miss the Indian influence in Kajal’s designs. As a Kiwi-Indian, she hopes her designs act as a canvas of personal expression for herself whilst also sparking the conversation for other Kiwi-Indians to explore their own unique identity. The collection is called ‘Naam’ as it is hindi for ‘name’; it is a collection for every individual Indian woman who seeks a ‘name’ in the world they live in that is so diverse. The celebration of diversity between different cultures as
well as the diversity seen within oneself should be celebrated. Patel is inspired by fashion designer Sabayasachi Mukherjee as his work incorporates traditional methods of craftmanship specific to traditional Indian clothing. The way Kajal Patel finds various methods to create her pieces are hugely inspired by Mukherjee. The way a garment looks is just as important as the method pursued to create it, Kajal Patel is conscious of this and aims to incorporate such methods into her work. The design process is a huge passion of Patel’s. Seeing a garment come together is one thing, but spending hours fine-tuning the details is one of Patel’s favourite parts of the whole process. After graduating from Massey University Patel has taken on internships to gain further experience in the industry. “At the end of my internship, I gained a stronger sense of vision of where in the fashion industry I would find myself heading.” Patel is hoping to open an online store one day but for now she is focusing on gaining as much knowledge about the industry as possible through further internships and local fashion events. “I would love the opportunity to showcase my work on an international platform such as New Zealand Fashion Week.” For more information, email kajalpatel.bhana@gmail.com or find her on Instagram @_kajal.p.
KAJAL PATEL
BENJAMIN ALEXANDER Fresh off his win in the debut season of Project Runway New Zealand (2018), twenty-five-year-old Benjamin Alexander reflects on his recent success, including hosting his first solo show at NZ Fashion Week. Growing up in West Auckland, Alexander describes a normal and happy childhood. School was never really his cup of tea, but he credits a “beautiful” art teacher for helping him steer towards a creative path. As a part of the Farry family, originally from Dunedin, Alexander does have some fashion history in his blood – the Farry family name being associated particularly with menswear in New Zealand. Despite this, it was what Alexander refers to as the “ritualistic dance of getting dressed” in the morning that really fascinated him and inspired his future in fashion. “I’ve always been enticed by clothing, so it has forever been with me.” A normal day for Alexander includes a coffee and a vape in the morning, then heading to source pieces for a Fashion Quarterly photoshoot or perhaps viewing samples or sourcing fabric for his own
collection. When considering formal education and whether it is important for a creative career Alexander believes it depends on the person. “I went through a formal education because I enjoyed learning and researching my practice.” Alexander emphasise that the fashion industry is a people industry and that connections are just as important. His only regret during his studies was that he didn’t participate in an internship. “Knowing what I know now, they’re important in familiarising yourself with the industry and allow you to try various areas within it before finding what path you want to follow.” “We have a beautiful community,” added Alexander, referring to the New Zealand fashion industry, which continues to inspire him and make him stay proudly New Zealand made. “New Zealand is my home and I want to support our industry.” Benjamin Alexander currently has clothing stocked throughout New Zealand as well as through his own ecommerce. His advice to others wanting to jump in the fashion industry: "Go headfirst."
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lounge + leisure
BLOOM WEAR super high waisted compression leggings
ACTIVLAYR nanocollagen undereye firming mask
MINA esa top
LOOBIE'S STORY elena jacket and pant set
BIMBY + ROY regu bralette
OLIVIA Poplin Pajama Set
KOWTOW landscape robe
SLIP silk scrunchies
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ELLA BATLEY From a young age, Ella Batley has always had a keen eye for fashion. From entering a school wearable arts show to graduating with a Fashion Design degree from AUT. “The idea of designing garments that help others achieve this idea of individualism is something I aspire to do.” Batley’s graduate collection mixed the versatility of sportswear with high fashion from the Victorian era along with the intricate details seen in Bolivian architecture. These three elements captured the fine line between playful and feminine design seen in Batley’s graduate collection. This collection manifests the concept of Pulchrism; an art movement founded by artist Jesse Waugh, which celebrates the idea that beauty is paramount. Making sportswear that is ultimately designed with functionality in mind and turning it into something visually appealing was something Batley aimed to achieve. “Pairing the functionality of sportswear with the clothing aesthetic of the Victorian and early Edwardian era isn’t something that comes to one’s mind at first, however, I really liked playing with this idea conceptually.”
From her studies she has learnt the importance of being clear around what her end goal is and what she hopes to achieve with every project she takes on. “Along with this, hard work and dedication are the elements that are going to set you apart from the rest.” Batley is most definitely inspired by the fashion industry as a whole as well as the skills she has learnt through her fashion design journey so far. For Batley, sewing is an invaluable art skill for any individual, especially from a sustainable point of view. “Even being able to do small things like fixing a hem can prolong the lifetime of a garment whilst reducing material consumption.” Through her internship experience for both small and large-scale New Zealand designers she has gained a bigger understanding of the New Zealand fashion industry. “Being a young designer, the biggest challenge would be trying to break into the fashion industry, particularly with the small industry we are situated within.” Currently, Batley uses social media as her main platform to showcase her designs and for generating sales.
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KETZ-KE Auckland based fashion designer, Jenny Drury, created Ketz-Ke to offer quality, casual, style-led contemporary women’s clothing that stands out from the crowd. Drury has always loved fashion from an early age and was naturally drawn to the industry. She managed a boutique when she was just 17 and the rest is history. “How I dress has always been important to me, I love to stand out from the crowd and not look like anyone else,” said Drury. As a fashion and style lover, Drury is always looking for something new. However, a wardrobe staple has always been a pair of converse, bright or classic. “They go with everything and I love how easily they bring a streetwear edge to any look.” Over the past decade, Ketz-Ke has put a large emphasis and focus on listening to their retailers and listening to their customers. It’s about relating to your customer. “You can create amazing garments but they still need to be commercial and desired by those on the other end of the process.” The biggest challenge to date for Ketz-Ke
as a brand would be the COVID-19 impacts on the business. “I am very proud of myself for successfully getting through this period. I wanted to support my staff and my retailers through this as I knew...united we stand but divided we fall.” A typical day for Drury starts at the crack of dawn - 5:30 am; straight into exercise. By 7:30 am, she is already in the office getting a jump start on emails. “Every day is a different day here. I’m very hands-on in the business… designing, accounts, sales, meetings, photoshoots, social media. It keeps it exciting and I love working with a small tight-knit team.” A piece of advice that Drury lives by is that failure is only for those that stop trying. It has always resonated with her. For those who are just starting out in the fashion industry, Drury advises that while many people embrace running their own business as a ‘do what you love’ exercise, at the end of the day the books have to balance and vendors need to be paid. Thus, while starting out, it is important that you are willing to
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take it all on. “If you like wearing many hats and enjoy being able to bring a vision into a reality, it can be the most rewarding thing you have ever done.” Drury believes that the key to success is to keep on keeping on. When things get hard and the road seems too long, you just have to keep on, keeping on. It is vital that you always revisit your goals so you are always on track. Ketz-Ke has a diverse range of styles and looks, however, they are most well-known for their bold and playful prints. The KetzKe customer is someone who likes to bring a touch of uniqueness or a bold edge to their look. They also value functionality and wearability. In the future, Drury hopes to align the seasons closer to the climate, this is something New Zealand brands have been trying to do for a long time but has been difficult with the competition seen with international brands. For more information, visit www.ketz-ke.com.
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Creative director of New Zealand label NOM*d and luxury brand boutique PLUME, Margarita Robertson, was inspired to open her first retail store in Dunedin in 1975. Robertson began by stocking boutique New Zealand based brands, but after travelling Japan in the early 1980s, decided to start her own brand, NOM*d in 1986. NOM*d began by specializing in knitwear, due to Robertson’s convenient access to a mill in Mosgiel and a local knitter. Now, still based in Dunedin, but has since expanded with another store in Christchurch. PLUME stocks a selective collection of brands which includes international designers like Comme des Garcons, Rick Owens and Dries van Noten, alongside New Zealand brands such as Zambesi, Jimmy D and of course, NOM*d. PLUME is like no-other fashion boutique. The garments are carefully curated, with longetivity in mind. NOM*d collections are timeless and of exceptional quality, therefore, NOM*d pieces are made to stay in your wardrobe for the longrun. The brands PLUME stocks, therefore, must fit within the same scope. Robertson’s favourite part of designing and creating a brand is the amazing response and loyalty she gets from both her retail and wholesale customers. Moreover, being able to collaborate with like-minded creatives has really driven the success of her brand. With COVID-19 impacting businesses harder than ever, Robertson is actively
thinking about ways to utilize the digital advances we have today to her advantage, however, it is the human factor that is vital for NOM*d, it is what makes the brand. We can only hope the normality of life will come back in full swing as soon as possible. Before the nationwide lockdown, it was hard to determine how much COVID-19 would have impacted New Zealand businesses and individuals. Oftentimes, crisis’ happen outside of our borders, so it has been a scary time for Robertson and everyone in New Zealand alike. Being handed a facemask when she was in Paris attending Dries van Noten’s Paris Fashion Week show was when she first realised how fragile the situation has become. The team at NOM*d is aiming to achieve all it can in the immediate future. With their garments all made in New Zealand, it is proving to be an advantage during this time. With knitwear being a feature item for NOM*d, right now, their consumers are needing winter essentials, therefore, this season’s garments are planned to be available for their loyal customers. For other South Island designers, Robertson is hopeful. “This uncertain time in our lives will end, it’s the rollercoaster of life. We have been through global financial crisis, earthquakes and all sorts… however, be strong, believe in yourself and your vision.” “New Zealand is a great country, full of wonderful and supportive people, that’s our strength.”
NOM*D + PLUME
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PERRIAM PERRIAM is a New Zealand made, merino focused lifestyle fashion brand situating in the heart of Wanaka. Christina Grant, the name behind the brand, grew up in Bendigo Station in Central Otago. Her parents were both pioneers in the merino industry, her father started the NZ Merino Company and her mother ran the Merino Shop in Tarras selling premium merino products. Christina was heavily inspired by her parents and their craft; she was excited to see how she could continue their legacy. PERRIAM aims to create investment pieces that will last in your wardrobe for more than a season. PERRIAM has product offerings from womens, baby, child to knitting. PERRIAM’s story is unique, one that starts at Bendigo Station – a merino high country station. They incorporate their own merino wool grown on their farm and turn it into their popular knitting yarn. They are involved in every step of the way, from growing the sheep to the end product. Being 100 percent New Zealand made and operated is something Grant is incredibly proud about. “True Beauty is Found in Nature” is the tag line PERRIAM lives by. Being able to trace their product from start to finish is a clear nod to this. PERRAIM designs are staple pieces made from a wonderful
fibre that keeps you warm and washes well. Merino is a great fibre that create gorgeous pieces of exceptional quality. The favourite part of this entire process for Grant is the development of PERRIAM products with her assistant. The creativity and problem-solving within her team is a dream. Grant also loves the opportunity to collaborate with other designers and creatives. Being able to bounce ideas with leaders of the industry and designers alike sees some of the best and unique PERRIAM creations. Storytelling is a large part of PERRIAM. Being able to create stories around the different collections and ranges, merchandising the store to highlight a mood is what Grant is passionate about. Every visit to PERRIAM takes you to another world. Seeing the reactions and responses by customers instore and online is the best reward for everything PERRIAM does. As PERRIAM prepares for a world postCOVID-19, the biggest challenge for Grant will be to think outside the box moving forward. Focusing on e-commerce and building an engaged community is the focus for the brand at the moment. While being in lockdown, the biggest challenge for the team at PERRIAM is working remotely and effectively using online video call platforms to have team brainstorms is vital for their
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growth. Educating consumers that supporting and buying New Zealand made is incredibly important for the apparel industry. Further, making sure consumers understand the costs behind being a New Zealand made brand was the biggest challenge for PERRIAM prior to the COVID-19 pandemic. Using New Zealand merino wool is not cheap, and it reflects in its price. Grant hopes that coming out of this pandemic, consumers are now more understanding and more educated in that aspect. Supporting local businesses and paying a little more for higher quality garments is better for the consumer, the local industry and most importantly the environment. Due to the nationwide lockdown, it has caused many New Zealanders to pick up their old hobbies, many of which were picking up their knitting needles. This meant that PERRIAM saw a surge in demand for hand knitting products. PERRIAM aims to focus on this offering moving forward. They began by offering a free knitted beanie pattern for their followers and have been overwhelmed by the response and support. To her fellow South Island designers, “we’re all in this together”, says Grant. Focusing on online offerings should be everyone’s focus, now more than ever.
child + baby
NATURE BABY cotton and merino sleeping bag
CRYWOLF rainboots mustard
MAE + RAE "amber" mustard floral headwrap
WILSON + FRENCHY sing a rainbow ruffle pant
SUSUKOSHI oraganic kimono bobysuit
NOOPII eco-luxe nappies
BURROW & BE bunny doll
DIMPLES merino babygrow onesie
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Jojo Ross has had the idea to reinvent her brand for a while now. With the sudden slower pace of life due to the nationwide lockdown, it has turned into something revolutionary for her brand. Introducing Jojo Ross 2.0, where the focus is on the pieces themselves. In-stores, a new garment is relevant for a mere six months before it is considered old stock. As a maker, Ross grows incredibly close to each individual garment she creates. “My garments put simply, mean a lot to me and I hate how they are considered old, while brand new, and, when they still have so much to give,” said Ross. Jojo Ross 2.0 is about rekindling the life of a garment while challenging the flawed fashion system. The pieces in 2.0 are created from preexisting styles. It’s a process that celebrates the possibilities of the individual garments more than anything. The revisiting of previous designs is incredibly nostalgic for Ross and she finds enormous amounts of enjoyment out of it, thus, we see the birth of 2.0. Jojo Ross is now offering wholesale to the public. It had been an idea that has been swimming in Ross’ mind for a while. Being made in New Zealand is really important to Jojo Ross, however, it comes at a high cost. This is then reflected in the retail markup of her pieces. “I always feel a little uncomfortable at how few people can afford such high price tags. Selling online exclusively has allowed me to cut out the retail mark up and to offer prices that are achievable to more people.” The biggest challenge for Jojo Ross as a
brand was her launch of their AW20 range, Club Silencio. It was launched in full, the week leading into Level 4 lockdown in New Zealand. “It was quite emotional and a bit of a blow as this was my biggest production run yet - after our first solo show at New Zealand Fashion Week.” The majority of Jojo Ross’ sales come from online and private sale events, so Jojo Ross took a pretty big hit from this. However, this meant she had the time to focus on Jojo Ross 2.0 - which she would never have been able to sit down and think about properly. In terms of fashion retailers and designers’ futures post-COVID, Jojo Ross mentioned that the fashion industry has been struggling even in a strong economy. Thus, the postCOVID season will be a hard one for all New Zealand designers alike. “I think we will see a lot of brands shift from the old season driven model to something less restricting and something more present. Change is something this industry has needed for a long time so it will be exciting to see what businesses come up with.” Creativity, curiosity and fearlessness implemented in a sustainable and timeless manner is what Jojo Ross is all about. Jojo Ross understands that her brand is ultimately a reflection of herself and her creative mind. Thus, it is integral for her that it is representative of her values, what she loves and what she lives for. Jojo Ross 2.0 is a re-invention. Anything can be expected. For order enquiries, email info@jojoross.com.
JOJO ROSS
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MEG & CO. Emerging New Zealand designer, Lia Hardy, is the founder, maker and creative mind behind Meg & Co. Based in Central Dunedin, she operates her small fashion label from home. Meg & Co. produces natural garments that are designed to cater to a range of body shapes. Designed and produced in house, collections are made biannually, staying away from the likes of mass production and consumption commonly seen in the fast-fashion industry. Meg & Co. aims to provide New Zealand women with classic and sustainable clothing that is produced locally. The Slow Fashion Movement is something Hardy is passionate about and backs 100 percent. This is reflected in Meg & Co.’s mission to create durable garments with minimal environmental impact. Moreover, the garments that Meg & Co. create are timeless, thus, being a wardrobe staple for you for many years to come. Keeping her business processes local is important for Hardy. Not only are her garments made in Dunedin, the merino she uses is also manufactured in Dunedin. As a small business owner, she understands the importance of supporting local. She is constantly finding different ways to support small local businesses either personally or for Meg & Co. Meg & Co.’s most popular garments are the Shetland Coats and the Merino Gemma Dress. When researching the market, Hardy found that there was not a wide choice of merino dresses. The few she found were primarily polyester with merino panels. Thus, we see the birth of the Merino Gemma Dress. Made 100 percent from merino, making it incredibly soft, comfortable and of high quality. The Gemma Dress can be styled
in multiple ways with its tie-in belt feature. Hardy loves working with merino as it is a great trans-seasonal fibre. Keeping you warm in the cooler months butt also keeping you cool in humid environments. Having this creative outlet for Hardy is the best part of owning her small business. The opportunities she has been offered have been rewarding and she looks forward to participating in Vancouver Fashion Week later this year. Although a world post-COVID-19 is unclear, Hardy aims to use this time now to organise her business priorities and values so the transition to ‘normality’ is efficient and impactful. Being able to work from her home studio, Hardy has continued to make garments during lockdown. However, her biggest challenge right now is to find a way to launch her new designer range in a time of economic uncertainty. Consumers are being more frugal, however, she is hopeful that silver linings will come from this time. We are already seeing it in the environment, with less pollution and animals returning. Hardy hopes this sparks a change in the way consumers think about fashion. As Meg & Co. is still an emerging label, Hardy works full time at another job. Balancing her time between the two has always been a challenge pre-lockdown. This lockdown period has been a blessing in disguise, as Hardy has been able to focus a lot of her down time on Meg & Co. During this difficult and uncertain time, Hardy hopes to share that “life is scary, but we are all in this together...encourage those around you to shop and support local, and together we can get back up.” To her fellow South Island designers, “remember, together, we are the pride of the South,” said Hardy.
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MARIAM SACRANIE Born in Malawi, Africa, Mariam Sacranie moved to Auckland with her family in 2006. She comes from an Indian family which heavily influences her love of fashion. Sacranie’s brand is self-titled and dedicated to her grandmother who chose her name and was one of the people that introduced her to sewing. In Malawi, her grandmother had a tailoring shop behind her house where clients would come and make requests for specific designs. “My favourite room in the shop was the bead room, where I would often be allowed to take a few beads to make myself some necklaces and bracelets but also get to see them in action,” said Sacranie. “There was a room dedicated to the embellishments of these traditional garments with these beautiful and intricate designs. This is where my love for textiles started.” Sacranie’s other grandmother owned a baby clothing company and would sew clothes for Sacranie and her siblings, from a young age Sacranie wanted to learn how to sew and was able to learn just by watching. She started pursuing an interest in fashion in high school, where she became accustomed to the process of creating a garment. This year was Sacranie’s final year at AUT, where she studied a Bachelor of Design and
majored in Fashion Design. Throughout her degree, Sacranie learned that to love the outcome, you must enjoy the process. She explained that if people worried less about the destination and more about the journey, it would be a more rewarding outcome. “With the growing use of technology, we have a need for instant gratification, which causes us to skip to the end, missing the process.” Sacranie’s graduate collection was selected and given the opportunity to showcase at the AUT Rookie 2019 Showroom. This was a highlight for her as she could celebrate her growth with her classmates. Her collection consisted of five looks which each featured three to four garments. It was based on the concept of escapism where she focused on the dark and angst emotions that people have when they have an urge to escape reality. “My inspiration for the emotions was driven from the stories of many old Hollywood celebrities and their urge to escape the reality of the pressure of being in the public eye.” She portrayed this using texture and transparency throughout the collection
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to show the positive and negative side of human emotions concerning escapism. Sacranie often draws inspiration from her everyday surroundings, like films, podcasts and the news. Sacranie enjoys designing as she appreciates the process of putting together an idea for a collection which involves research, planning and designing. However, she also enjoys the sewing aspect of design as it brings the clothing to life. She currently works at Ruby as a workroom assistant, her role involves sample cutting as well as assisting the workroom team with fixing faulty garments and preparing orders to be sent to the machinists. The ethical element of production in the context of fast fashion and consumerism is what Sacranie sees the biggest challenge in the fashion industry. Despite the growing discussion on making ethical decisions, the industry needs to implement changes and take action to make a difference. Sacranie believes convincing many fashion brands and consumers to take more ethical steps in not only choosing slow fashion as a concept but also adopting a more sustainable lifestyle is a productive approach to addressing this issue.
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CELESTE WATSON Celeste Watson attended Whitecliffe College of Fine Arts and Design, where she gained the critical skills and experience to help drive her future career in fashion. Watson grew up in small town Kaitaia and came to Auckland four years ago to seek opportunities and pursue a career in an industry she dreamed about as a little girl. “I wanted to be a supermodel and fashion designer. Since then, I’ve gotten to do both things in various ways,” said Watson. Her brand, Celeste Elena, is a combination of her first and middle names. Celeste in French means heavenly and Elena in Spanish means light, hence heavenly light. When asked about how she got into fashion, Watson explained that she had been sewing since she was eight years old, using fabric scraps to sew clothing for Bratz dolls with her friend. At the age of 15, she got her very first sewing machine and has continued to make clothing ever since. “When one of my friends told me about Whitecliffe College and the incredible degree program they have. I went for an interview with my design portfolio, and I got in on the same day.” Studying fashion has taught Watson many valuable lessons that will help her progress in the industry. Knowing how to collaborate and communicate well with others as they will likely be in the same sector was vital to learn as making connections is the key to building a strong reputation. Watson’s graduate collection was time-
consuming as she naturally hand-dyed 99 percent of the whole collection but entirely rewarding. The collection consisted of bright and beautiful colours derived from natural materials, onion skins, eucalyptus leaves, chamomile flowers, magnolia flowers for eco printing, turmeric and natural indigo dye. The vast range of materials allowed Watson to explore as an artist within the realm of fashion. She presented six looks on the runway and her collection In Full Bloom: Here I Am. It explores her rural identity growing up and how that transfigures within the urban environment. “I am not Māori, but where I grew up, close to Kaitaia and Tokerau Beach, Māori culture is richly embedded," she explained. "I feel the love for the Whenua that is spoken of by Tangata Whenua. Trees, grass, hills, ocean, sand, everything is alive and vibrant.” She incorporated her passion for the natural world and wanted to bring that sense of nostalgia back into her collection, hence why it was an important practice for her to naturally dye the fabric to ensure her colours have come from the earth. In Full Bloom: Here I Am used flounces as an element of design to reference floral figures. Watson describes her style as feminine and floaty, so she tailored her pieces to fit the body and accentuate the waist. “I will always be an A-line girl. I design for women who want to feel confident and look
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beautiful, to hold the eye without giving away too much. I like to use high-quality silk satin because like a magpie, I like shiny thing.” Nature and landscape paintings particularly inspired this collection. Along with the work of Vincent Van Gogh and Claude Monet, Watson wanted to capture colour and movement the way these artists do in their work through small delicate brush strokes. “The same inspiration they took from nature is what I used to create imprints from leaves and flowers on my fabrics.” During her degree, Watson has completed three internships where she worked as an usher, dresser, organiser, room assistant and in customer service. Having so much experience in the industry will allow Watson to further progress as a designer as she holds the various skills and knowledge that will help her thrive. “I have been taught industry standard construction, pattern making and design, I could step into a sample machinist role, a production or workroom assistant but the number one goal is to launch my own label under a local New Zealand designer.”
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@ravenandrose
www.ravenandroselingerie.com
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