Dzine.
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contactthedub@gmail.com instagram: @thedubdesigners facebook.com/thedubdesigners issuu.com/thedubdesigners vimeo.com/thedub
EDITOR
BRAYDEN HISCOCK
GRAPHICAL CO-ORDINATOR BRAYDEN HISCOCK
PRINTED BY
CORNERSTONE PRESS
SPONSORS
QUTLIFE BALL & DOGGETT CORNERSTONE PRESS
EDITORIAL CONTRIBUTORS
KEN LACDAO MACKENZIE CLARK DAVID UPCHER CHLOE WELLS SABRINA NGUYEN-LADERA PIP COMINO FREYA WATT BRONTE MARK
COVER
BRAYDEN HISCOCK
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redux /ree-duh-cks adjective
LETTER FROM THE EDITOR.
to be brought back or revived.
This issue is all about revitalisation, revisiting and reinvention in design. As most of my design peers at QUT know, ‘Everything is a Remix: Remastered’ and whats wrong with that! Design is constantly evolving and changing and we must too but since basically every idea has already been done before why not just find inspiration where it be and add whatever the hell we want to it. — Brayden Lee Hiscock Editor.
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WILD & FLUOR ESCENT In “Supercut”, a song off of Lorde’s sophomore album, Melodrama, she describes love as “wild and fluorescent” Ken Lacdao explores our romance with the 80’s. Accopmaied by still-life photography by Pip Comino.
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Lorde collaborated on the album with Jack Antonoff as producer, draping the songs with the same 80s-inspired sounds that can be found in his own music. It’s fitting that a song accompanied by the synthesizers and ebullient production of the decade contains the words wild and fluorescent, because that’s how we’ve come to see the decade as a whole — the colours were brighter, the fashion was bolder and the music was bigger. And it’s also fitting that Lorde uses wild and fluorescent to describe love, because that’s ultimately why our generation today is so in love with the 1980s. In this age of minimalism and dating apps, ennui and cynicism about the state of the world (which is, too be frank … not good), we long for the simpler
times where things weren’t so serious, where girls just wanted to have fun, and you just wanted to dance with somebody who loves you. Everything is so serious nowadays, and while part of it is because we’re rightfully challenging the wrongs of society, a lot of it comes from the fact that everything about a movie has to make 100% logical sense, every song has to have intricate lyrics to be valid and because you need to have seven years of experience before the age of ten before being qualified for an entry-level position. Our modern times seem so bleak compared to the more idealistic 1980s that we can’t help but fall back in love with it. From Stranger Things to the remake of the Dynasty soap opera, Carly Rae Jepsen and Taylor Swift with their loveletters to 80s synthpop EMOTION
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and 1989, to the resurgence of vaporwave - which often incorporates the Blade Runnerinspired cyberpunk aesthetic with music from the city-pop genre that was popular in the decade—the 80s are back, and we’re welcoming it with open arms. And it’s making its returns in our culture with other ways, too - you’d be hard-pressed to walk into a Mecca without seeing cosmetics baring the same neon colours, or anyone without the same thick eyebrows that Brooke Shields became famous for in the 80s. Trends will always come and go, and while we also borrow inspiration from other eras in the past, this specific renaissance of the 80s is noteworthy because it holds a mirror to the present, and reflects our shared cultural dissatisfaction with today. If you listen closely to any pop song from the 80s, you can feel
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a distinct bittersweetness within the music. A sense of melancholy, of loss — but a love for the moment, and an optimism about what was to come. The 80s were like that: women were starting to occupy the workplace at an unprecedented rate Working 9 to 5, technology was advancing and pop culture was getting more exciting. If we’re all being honest, we’re not really looking forward to what is to come. So I guess we look back at the 1980s, and what the decade represents, and wish we had the same wild and fluorescent romance with today.
Words — Ken Lacdao Photography — Pip Comino @pipcomino
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MIMEKMI Mimekmi is a Brisbane based label, established in 2017 whilst completing the final year of a Bachelor of Fine Arts (Fashion)/Bachelor Business (Finance) at QUT BY Mackenzie Clark. I wanted to design pieces that were undeniably fun and youthful; a mixture of girly-girl and streetwear. To me this ultimately meant clothes I would wear myself and reflect my personality. I’m now looking to launch a collection of five pieces later this year.
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The collection consists of super girly dress with chunky smocked socks and cropped tops. I’d like to think of it as unfussy dressing that isn’t slouchy pants and beige tones.
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More than half of the pieces are all fully shirred garments. This technique has a naivety about it like something my grandma would make for me. The technique shrinks fabric and transforms it into something with stretch. I decided to use this for the cropped top, socks and one of the mini dresses instead of using a regular jersey or stretch fabric. I feel this was an interesting way of using this technique as it is generally used for only small sections of garments i.e. cuffs and waists. The exposed edges of these pieces are all finished with baby lock. This increased the ruffles and naive look created through the shirring and pastel colour choices.
ABYLOCK. BABYLOCK.BABYLOC
ABYLOCK. BABYLOCK. BABYLOCK
BABYLOCK. BABYLOCK. B
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. BABYLOCK. BABYLOCK. B
MIM KMI. MIMEKMI. MIMEKMI.MIMEKM
The other pieces explore more of this youthful vibe. One dress is babydoll in style with ruffled tiers and butterfly capped sleeves. This dress is somewhat flirty, cute and innocent and exudes what I’d call ‘grown up toddler vibes’; sweet but with a bite. It plays on the Y2K aesthetic where wearing clothes symbolic of childhood dressing was huge, the idea of wearing clothes more appropriate for a child as an adult.
IME
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MIMEKMI. MIMEKMI. MIMEKMI. MIM MEKMI. MIMEKMI.
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EKMI. MIMEKMI.
SY. G
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LOSSY. GLOSSY. GLOSSY.GLOSSY.
GLOS
SSY. GLOSSY. GLOS
SY. GLOSSY. GLOSSY. GLOSSY. GLO
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SSY. GLOSSY. GLO
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The final key pieces explored in this series are slogan tops. Bringing it back to this series youthfulness, these tops are cropped and feature bedazzled slogans and butterfly edges. The glittery take on a branded tee is synonymous with Y2K and the Paris Hiltons or Mariah Careys who rocked them 15 years ago. The ‘Mimekmi’ crop is a brand tee at heart whilst the ‘Glossy’ crop is a subtle hint at those who may have a glossy or fake personality - Someone who is attractive and shiny but lacks serious value.
Photography — Leah Desborough @leahdesboroughphotographer Clothing Design/Styling & Creative Direction — Mackenzie Clark @Mimekmi
Model — Laura Goulart @lauragoulartpinheiro
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David Upcher brings a new surrealist life to recycled National Geographic magazines and preloved educational textbooks whilst Chloe Wells gives them a story with selected excerpts of her poetry. Most of the books and magazines I got from lifeline bookfest in the $1 section. At the beginning of the year though, I went searching for more material at an opshop in Paddington with Bronte. I brought a big pile of the books to the counter and the shopkeeper asked me what I was getting them for. I couldn’t come up with a lie quickly enough, so I just told her that I’d be making photo collages from the pictures. She looked kinda mortified that I’d be cutting all the pictures out. I felt a bit bad about it. When I started doing photo collage I would feel so guilty about defacing books that I could hardly bring myself to start cutting images out, so I totally understood her reaction. — David Upcher
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David Upcher, “Mountain”
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David Upcher, “Dartmoor” 22
I WAS NEVER ONE FOR SMALL TALK. I PREFERRED THE KIND OF TALK SO BIG THAT THE ELEPHANT IN THE ROOM COULD WEAR IT COMFORTABLY AS A DRESS. — CW.
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David Upcher, “Lake” 24
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RD WHEN NONE WILL DO. I DON’T REMEMBER
NOT TO SAY A WO
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David Upcher, “Arena”
’T HAVE ANYTHING TO SAY.
A TIME WHEN I DIDN
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I SIMPLY LEARNED
I need to know What I have done To earn Your affection
Because sometimes It seems impossible And I Feel so unworthy
Tell me what can I do To hold your attention so kind and so cruel. — C.W. David 28 Upcher, “Polyp”
David Upcher, “Castle”
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I opened up my mind The universe fell through I placed a map in your hands as I crumpled The universe fell through I placed a map in your hands as I crumpled I opened up my mind The universe fell through as I crumpled I placed my mind in your hands The universe fell through my mind I placed a map in my mind as I crumpled I opened up my hands The universe fell through my mind I crumpled up my mind in your hands The universe fell through as I crumpled — C.W.
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David Upcher, “Norway”
Collage — David Upcher @davidupcher Poetry — Chloe Wells @zemblanite
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i am blind. ngled a t m a i
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PERIMETER.
Perimeter is a visual play the revisits past emotional barriers and their boundary—like feelings. The series moves through the stages of restriction and constraint, acceptance, breaking away and growth. Pip Comino
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i fght f or i am
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strong .
2. i fight for i am stronger than i seem. 35
3. the struggle eases slightly. that was not so hard. 36
the struggle eases slightly.
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the threads loosen slightly.
4.
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am i free?
5. i am sheathed i am covered. can you see me? 40
i am
sh ea t
covered. am . d he
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m ia
. safe am t. i ten con
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6. i am content i am safe. do i need this? 43
i am free.
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Model — Claudia Piggott @claudia.piggot
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i don’t need this anymore. Photography & Narrative — Pip Cominos @pipcominos
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NOSTALGIA: A HAPPY TRAP. Sabrina Nguyen-Ladera explores nostalgia through digital illustration and prose.
Nostalgia comes in two parts: the joy and comfort, followed by yearning and melancholy. It’s bittersweet.
Nostalgia itself isn’t selfish. It exists as fragments of memories that we hold on to. But when you live purely on nostalgia alone, Sometimes it’s a sound, a taste it changes nothing. We can or a smell. It’s the song that become trapped in a state of comes on the store’s overhead reminiscing bygones and we speakers that you played for forget to plan for the future hours on end in your bedroom or to live in the present even. when you were ten. It’s the It’s important to take these video game console that’s moments as they come, not been newly revived that you to pine for how things once used to play late at night with were, but as reminders of the your siblings (way past your experiences that shaped us to bed time). Or sometimes its be who we are today. the smell of the soup you ordered at the restaurant that reminds you of your mum’s home cooking. It’s these little memory triggers that steal a Words & Illustration little of moment your day – a pause in time. And like a Sabrina Nguyen-Ladera warm hug, it envelops you for @sabrinajnl those few seconds. But when you actively try to chase these little moments, it can become dangerous.
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Inspired by Kota Tua and the experience of being immersed in Kampung Village. The existing site was a ruin of old Dutch buildings had potential to become a space for the people. A place to learn, create and gather. The landscape influenced the ground floor creating green space for locals to linger within the shade of the buildings above. The fragmented design includes studio office space and residential zones. Design language has been developed through understanding the local history and the architecture within the local urban environment. Local artists and designers will help create identity within the space unique to Kota Tua and its people.
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Potential users were identified by observing the surrounding community gathering spaces. They indicated that a place for youth and young adults would be beneficial for the future of Kota Tua. The proposed spaces provide areas of prescribed activity, and places of gathering in a safe environment. ‘City studio’ a community initiative program, will operate in the studio building. The studio space connects professionals with the public to create community engagement by providing programs and workshops to educate and create. The incorporation of residential space accommodates both long term and short-term stay allowing locals and visitors alike to experience Kota Tua.
THE VILLIAGE
ABOVE From the hustle and bustle of Jakarta’s thriving city, a short train ride connects you to the history of Indonesia and its fight for Independence — Freya watt
Freya Watt “Elevation.”
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Freya Watt “Apartments.”
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Freya Watt “Sky.”
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Freya Watt “The Walk.”
ANINE. MEZZANINE.
. MEZZANINE. MEZZ
MEZZANINE. MEZZANINE
ANINE. MEZZANINE. MEZZ
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RE. THOROUGHFARE.
ROUGHFARE. THOROU
THOROUGHFARE. THOROUGHFARE. THO
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GHFARE. THOROUGHFARE. THOROUGHFA
Kotu Tua is a place of former glory, but a symbol of invasion and oppression lost & forgotten. Exploring Kota Tua was an experience we will never forget. From the hustle and bustle of Jakarta’s thriving city, a short train ride connects you to the history of Indonesia and its fight for independence. The architecture itself expresses tension of a once invaded nation, now remains a memoir of past victories creating a poetic language of past, present and future. Kota Tua is entering a chapter of revitalisation to restore the forgotten city, a place for people to learn and discover, live and create. The villages are thriving not through what they have but who they are.
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Freya Watt “Business.”
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RDEN. GARDEN.
GARDEN. GARDEN. GARDEN. GARDEN. GAR
. GARDEN. GARDEN. GARDEN. GARDEN. GA
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RD EN. GARDEN. GARD
E
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Kota Tua is a place of community and sharing, people are connected not through phones but through food and festival. As we walked through the Kampung village, we were in awe of the resourcefulness and personality each home voiced as the streets were brought to life through colour. A celebration of community, colour and food, Kota Tua will forever have a place in our hearts filled with the experiences of place and the people who call it home.
Photography, Renders & Words — Freya Watt @freya.work @_ffreya
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I THOUGHT I HAD FORGOTTEN YOU, YET HERE YOU ARE.
bronte mark explores the sensoriality of memory and how taste and smell can revive powerful memories. both good, and bad.
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Resurfacing the past through high contrast abstract figures records my experiences which become clearer and more defined each time I revisit them. — Bronte Mark
Revisiting the artistic style of linocut pieces Bronte has imagined scenes with the grit and texture on lino-cut in a digital formnat. These scenes are direct emotive responses to the sensory feeling of being without.
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Bronte’s digital drawing emulates the texture and scrachiness of a lino-cut piece creating a sense of depth to these essentially 2 dimensional scenes.
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The pieces are created for the high contrasted and shocking nature of a particular taste or smell stimulating a seemingly disconected memory in vivid deatil.
Digital Illustrations — Bronte Mark @brontemark Descriptors — Brayden Hiscock @brayden.h
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EDITOR
BRAYDEN HISCOCK
GRAPHICAL CO-ORDINATOR BRAYDEN HISCOCK
PRINTED BY
CORNERSTONE PRESS
SPONSORS
QUTLIFE QUT STUDENT GUILD BALL & DOGGETT CORNERSTONE PRESS
EDITORIAL CONTRIBUTORS
KEN LACDAO MACKENZIE CLARK DAVID UPCHER CHLOE WELLS SABRINA NGUYEN-LADERA PIP COMINO FREYA WATT BRONTE MARK
COVER
BRAYDEN HISCOCK
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contactthedub@gmail.com instagram: @thedubdesigners facebook.com/thedubdesigners issuu.com/thedubdesigners vimeo.com/thedub
