The Fashion Advocate Issue 01 UTOPIA by The Fashion Advocate

THEFASHIONADVOCATE ISSUE 01

utopia

FRED HATES FASHION

editor’s letter

hello UTOPIA: An imagined place or state of things in which everything is perfect. I do most things backwards, and this magazine is no exception. Usually an editor picks a theme before planning their monthly magazine, but it wasn’t until I had compiled the 57 pages of The Fashion Advocate’s launch issue, that I found an adequate title. We all have a different idea of our own utopia; a life with no stress, more money, less work, more clothes, less weight, more time, endless Champaign and runways, but in the fashion world, there is no such thing as perfect. It’s an interesting industry, ever changing, tough, demanding, competitive and cutthroat, but its also very inspiring, life changing, motivating, passionate, creative and magical. Every day, you and I both get up and get dressed, we make a conscious decision to wear all black or no black, send certain messages and represent ourselves by what we choose to wear. We all have a relationship with fashion that is deeply ingrained in our every day lives and whether we acknowledge it or not, it exists. It’s what you do with the relationship you have with fashion that makes a difference in this industry, and as the pages of this launch issue reveal, there are some very special people doing very special things with theirs. On page 13, we share ten questions with Thom Kerr, fashion photographer and all round creative, who reveals that the life he leads now, was but a mere unattainable dream in the beginning. On page 35, Bella McGoldrick opens up about her journey as a designer, living and learning away from home and feeling the exact same way about finally reaching a milestone that also started as a dream. On page 41, the gorgeous Karen Woo shares a personal story about her shift into fashion photography after nearly a decade in the business industry, and, my interview with Creative Director Hinny Tran of Fred Hates Fashion on page 7 is the pivotal piece of this issue. His journey from delinquency and expulsion to international acclaim is beyond inspirational and his work with fashion film is phenomenal. One of the hardest parts of finding and following your passion, is reaching self-approval, and having the approval of those around you to pursue the one thing that motivates you, moves you, and makes you… happy. This entire issue seems to ring true that if there is a will there is a way, and I feel privileged that I’ve shared moments with the artists, photographers, designers, film makers, illustrators and creators who are making a difference, and I am so excited to now share them with you. Each and every one of the inspirational stories in this issue is a testament to perseverance and passion, and if ever there were a recipe to a fulfilling life in the fashion industry, those would be the two key ingredients. Here’s cheers to an industry that I happily, lovingly and genuinely devote my (often 16 hour) days to. Welcome to The Fashion Advocate. Claire Goldsworthy. Email me: editor@thefashionadvocate.com

contents

7 13 15 27 31 35 41 49

Hinny Tran Creative Director, Fred Hates Fashion

Thom Kerr Fashion Photographer

Megan Greenwood Fashion Designer, Emgee

Shelly Gow

Fashion Designer, Kinki Gerlinki

Zoe Champion Fashion Designer, Self Titled

Bella McGoldrick Fashion Designer, Self Titled

Karen Woo Fashion Photographer

find me Facebook @FashionAdvocate

Benjamin Ringuet Fashion Designer, RINGUET

Twitter @thefashionadvoc Instagram @thefashionadvocate Web www.thefashionadvocate.com 4

contributors Amanda Cunningham Melbourne Amanda Cunningham is a Communication student with a background in psychology, but a passion for design. She won awards for her textile designs while in high school and has been known to sport her own creations when current trends don't take her fancy. Besides reading and writing, Amanda keeps herself busy dancing, crafting, cooking, eating and snuggling. Katelyn Rew Melbourne Katelyn is an award winning photographer and freelance writer. She writes for various publications discussing the topics or art, travel, fashion and culture. Katelyn also dabbles in the romantic word and has had her poetry published in 'The Morning Bell'. Her long standing love of local fashion is shared in her interview with Megan Greenwood of Emgee on page 15. Paul Caccamo Melbourne Paul thinks of himself as a creative person in a monochromatic city just wanting to be heard. He is an actor, a writer and he occasionally says, “cool” when he takes a great photograph. Paul also immerses himself in videography, fashion and music (although his shower ballads are not quite Grammy quality yet). Australian fashion inspires him because it is always changing. Brienna Wapple Melbourne Brienna grew up in Brisbane and now lives in Melbourne. She’s currently studying Journalism and Business and her goal is to be a fashion writer full time. She loves reading, travelling and (of course) shopping. She loves the Australian fashion industry because of it’s differences and contrasts to the international market, and she values the unique Australian take on things. Iona Shearer Melbourne Iona is a freelance writer and travel addict who fell in love with Australian fashion when she moved to Melbourne in 2014. Influenced by both the well-established names to the emerging designers who are changing the face of fashion, Australia has helped to define Iona’s personal style and (unfortunately) encourage her penchant for shoes, clothes and all things sartorial.

industry

country of origin The US Congress recently enforced a bill creatively titled, ‘Team USA Made In America Act’, regulating the necessity for all US uniforms to be manufactured onshore in the US. The bill has opened an interesting debate, considering that 98% of America’s clothing and textile materials are imported from other countries. The same law does not exist in Australia, but what we do enforce, is a manufacturer’s obligation to adequately display their garments’ country of origin. Consumers and designers often lie at opposite ends of the spectrum when it comes to garment labeling, as there are many moral and monetary factors to consider. Whilst many of us like to know where our clothing comes from, certain countries carry certain stigmas, and it can have both a positive and negative affect on the garment. Conglomerates and internationals have a lot to answer for too, as many of their garments aren’t sufficiently screened before hitting the retail floor. I recently learned of a close friend’s experience at Myer, whereby she purchased a garment specifically because the external swing tag stated, ‘Made in New Zealand’, only to later find out at home that the internal care label read, ‘Made in China’. Understandably, she wasn’t very impressed about it, so I canvassed the streets in search of the popular opinion as to whether consumers really care about clothing labeling and country of manufacture… “I think clothing should have the country of manufacture clearly labeled because it gives consumers an indication of the quality of clothing.” Belinda, consumer, Brisbane. “Yes, clothes should be labeled with the manufacturing country. Without the label, you don't know the quality standards, the working environment of the employees or if sweatshops are being used. I also like to think I’m getting what I’ve paid for; do you want your Sass and Bide clothes made in a country that underpays their workers?” Maryanne, consumer, Brisbane.

“Absolutely! With the knowledge of place of manufacturing, consumers can make the choice to support countries with fair trade agreements. Ethical shopping is sometimes tricky but knowledge creates power of choice.” Sarah, consumer, Brisbane. “I do think that every item should be labeled with the appropriate information regarding where it was manufactured. More and more people are becoming aware of the conditions in which our clothes are made, and in order to make informed purchases, I feel it is our responsibility as designers to provide this.” Lois, designer, Melbourne. So what responsibilities do designers such as Lois have when it comes to labeling the country of manufacture? It’s a very intricate web, as often the materials are cultivated and harvested in one country, drawn and spun in another and then dyed, woven or finished in yet another. Labels such a Jeans West face this multi-country of origin problem, as the label is designed in Australia and manufactured overseas. Jeans West Associate Designer Stephanie Gray knows it is a complex issue, but the brand makes every effort to be transparent. “It's a legal obligation for a garment to be labeled with its country of origin, so we label each and every piece, no matter where it is made. It does effect the consumer though, as they see where it is made and sometimes view ‘Made in China’ to be of lesser or cheaper quality. Garments that are labeled ‘Made in Australia’ are often deemed to be ‘expensive’ or of a higher quality to the consumer. It really does financially affect Australian designers who wish to design, source and make garments on-shore, as it is a very expensive exercise. Most large companies and some medium-scale designers will have clothing made in China, India or Bali, because of the expense of manufacturing locally. Factories in Australia are starting to close down as more and more designers are going off-shore for manufacturing.”

“People should buy Australian-made over imported, as it helps our industry and is more environmentally sound, so the label allows for an informed decision. It also gives an idea of the production cost of the garment and what you should pay for it. Often, where a garment is made relates to its quality.” Julie, consumer, Brisbane.

And so, it is not an easy debate nor is there a simple solution. Perhaps if consumers supported the Australian industry more, fewer designers would be faced with the decision to manufacture off-shore to cut costs. As a designer, it is impossible to make every single consumer happy, but there are certain choices that both the designer and consumer can make to positively influence the issue. My suggestion: shop local where possible and make informed decisions.

“Yes, for no other reason than choice. You can't make the choice to buy locally if you don't know what is and isn't made in Australia. The problem comes from where you draw the line though; is it Australian made if the fabric is imported but sewn in Australia? What if the fabric is Australian made but the garment is sewn off shore? It’s a difficult debate.” Jonathan, consumer, Brisbane.

By Brienna Wapple.

hinny

tran Fred Hates Fashion

If you haven’t done so already, do yourself a favour and watch a Hinny Tran film. Leave the pages of this magazine and watch just one, but know that when you watch just one of his films, you will be immediately craving the second, then the third, and fourth. Hinny is a Creative Director, a pop artist entrepreneur, and his work with fashion films is entrancing, engrossing and confronting, to say the least, and I can never seem to stop at just one. Alongside an incredibly talented and artistically connected team of production artists, Hinny is also the Co-Creative Director of the annual event, Fred Hates Fashion. I am not exaggerating when I reference the power of his films, and I’m also not shy about the fact that I may be Hinny Tran’s biggest fan. But, when something in the fashion world moves me, it deserves a noble mention. There is a certain depth and darkness to his films, and the way in which he achieves an intellectual conversation on a visual level, impresses me beyond belief. The word ‘fashion’ is somewhat tarnished: glossy magazines, bright lights, supermodels, bling bling, need, want, trends, but Hinny’s work surpasses the singular idea that fashion is ‘an item’, and instead, his films convey a dialogue of purpose and substance. In his films for designer clients, clothes are not just clothes; they are a physical amalgamation of a non-tangible concept, of which each designer has their own. Hinny’s films respect this individuality and through intricate details, he personifies ‘fashion’, telling a tale of each garment’s purpose and connection to both the designer and the wearer. And, like most minds that possess this unique sense of vision, Hinny developed his through necessity. Growing up in a government flat in Fitzroy with a mother who worked in the entertainment industry and was rarely around, Hinny was accustomed to adolescent delinquencies. He was forced to create his own childhood and spent a lot of his time in after-school care facilities like the Fitzroy Youth Music Program. It was here that Hinny developed his love of the creative, learning everything from chromatic scales to blues improvisation and composition. He also spent a lot of time at ‘Cubbies’, a local adventure playground where he would build and re-build his own dream cubby house (albeit with splintered wood and rusty nails), and the experience opened Hinny’s mind to magic. “The volunteers who ran the place were real characters and they were usually pretty strange and loose. One of the workers, Marianne, was a six-foot tall woman with red hair who had convinced me that I could meditate and send messages with my mind. I spent a lot of my childhood hours meditating and imagining magic.” And although he was in and out of foster homes regularly, he was the popular kid at school that had charisma. He spoke at school assembly, he won awards, he got good grades and he lost sleep over art and science projects. But, he was also the kid that was prescribed Xanax, got caught smoking, got into fights, and who drank whiskey at mass. Needless to say he was expelled, more than once. “I lived double lives from an early age

and I was pretty good at being genuine to them. I was loud; I wanted attention and I was good at getting it. I was expelled from three different schools and when I would enroll myself in a new one, I would create an elaborate story for the principle that my parents couldn't be present to sign the enrolment forms because they were holidaying overseas.” It wasn’t until he had well and truly navigated the complexities of his childhood, that there came a day to define him. “I was 22. My sister left a video camera in my room one day and I picked it up and played around with it. I made a video of myself getting dressed in about 30 different outfits to Kesha’s song, ‘Tick-Tock’. It was a summary of what my morning routine was like at a time when life was fun, and all you had to care about was what you were going to wear and what blogs you were going to read.” When Hinny uploaded his jovial half-naked homemade video to Facebook and YouTube, he got an incredible reaction, so much so that the video was embedded on a Thai pornographic website. He learnt two things about himself at that time: people would pay lots of attention to his films, and, it was the only thing that satisfied all of his creative desires and didn't box him into a single discipline. With this realisation, Hinny quit his business degree in the last semester before graduating. And although he had grown up videoing every day things on his phone, recording footage of memories and seemingly insignificant things, the idea of film as a profession wasn’t something he was always fond of. “I failed film subjects at Latrobe University and I couldn't stand it. I hated film class. I hated the posh talk, the overanalyzing, biased sympathizing sessions and the assumptions that filmmakers always knew what they were doing. It's not that I didn't care enough, it's because I hate the ‘all talk, no action’ approach. I was arrogant, but university hadn't provided the space that I needed to interact.” The way in which Hinny opposed institutional expectations and came to embrace his passion on his own, is one of the most intriguing facts about him. It is also one of the most inspiring, because it’s a problem that many creatives face and they often don’t feel the validity of a self-taught path. “Learning about which button did what never started on the camera or keyboard. For me, the buttons are my behaviours. Turning my interests into film was just about using what I had, whether that was a camera phone, a handy cam or iMovie on my Apple MacBook. I see something first and worry about the technology later.” After finding his confidence with creative expression through film, things moved very quickly for Hinny, and he made his first solo project, BODYMOD, in 2014. The short sci-fi psycho-trip fashion film was purely creative and with no commercial gains to consider, Hinny let loose. The film is confronting and it suggests some very poignant philosophies about the way in which fashion engages the outer-self physically, and the inner-self emotionally. It follows the journey of three contestants (aptly called ‘Trendoids’) who undergo an intense series of test modules that require 8

them to design their own bodies, rendering an elaborate version of superficiality.

duty of care we have to one another.”

The entire film is narrated by Hinny’s own perceptions with lines such as, ‘Fashion is the simplest form of body modification and modifying your body is the simplest form of self expression’, ‘Historically, aesthetic has always come before functionality, hereby, fashion has been the catalyst of human evolution’, and, ‘Your body and your fashion are at war with one another’. Whilst the darkened tone and graphic nature is a little haunting, the message is alarmingly on-point. The evocative film received Official selection for a number of awards including the International Fashion Film Awards, La Jolla Fashion Film Festival California, Miami Fashion Film Festival and London Fashion Film Festival, and also Special selection screenings at the Museum of Contemporary Art California, screening along side other directors such as Karl Lagerfeld.

Hinny’s primary school friend Dee Huynh has also joined the team as the Executive Event Producer, and Lizzie Sharp has been enlisted for her prowess in make-up and visual effects. When the entire crew is together, the creative sparks fly. “Our team is getting really strong, we’re focused and there's synergy, so everything that we have produced this year feels more silky smooth, more eye-catching, more expensive and more hard-hitting. More fashion, less hate, and an equal amount of ecstasy to compensate. Having Lizzie Sharp on board has positively changed our creative process too. Her brush stroke is such a vital part of my work now and I have learnt so much from her aesthetically and spiritually. Lizzie is really nurturing, graceful, won’t take no for an answer and she is somebody we can rely on to get things done with style. She is also the only other person that I know, who can spot a needle on the road. Skills.”

The public’s acknowledgement of his passion fueled Hinny’s fire, and his affliction with fashion and indulgence in film quickly grew to become it’s own entity with the Fred Hates Fashion event. Contrary to popular belief, the implication is not as the name suggests; Fred loves fashion so much that he hates it. “The character had to be likeable as well as flawed, humble like the underdog and a little bit of a creep. Mostly, the character had to be passionate and obsessed beyond the point of frustration. Thus, Fred was born.”

Between working towards the upcoming event, managing his personal projects, piling up his film awards and running his own video public relations business ( Video-PR.com.au), he paints an enviable picture of creative success. Hinny works a lot through, and ‘a lot’ is an understatement; he’s found ways to work in any situation, including whilst driving, in a club, in the cinema and even while on the toilet. He doesn’t get a lot of alone time and he is constantly fighting for breaks, but he wouldn’t have it any other way.

The inception of the now annual event was an answer to Hinny’s ongoing search for a multifaceted way in which to communicate fashion and its intentions were entirely pure. “We wanted people to remember the excitement and anticipation, the beauty, the craziness and the ecstasy of a runway show, with all their senses.”

His schedule is a testament to the old saying, ‘no pain, no gain’, and whilst he is well and truly on his way to financial security with the creative empires he is building, Hinny assures me that it’s not all sunshine and roses just yet. Video-PR has the capacity to financially support him, but the trade off with the commercial side of the film industry means he occasionally works with less inspired clients who don’t appreciate his talents, and he is often faced with the decision to choose between project work with Video-PR, or creative work with Fred Hates Fashion. Hinny doesn’t profit from the Fred Hates Fashion featured designers either; rather they make a comparatively minute contribution to the cost of production. Hinny disagrees with the concept that having more money makes you suffer less, and he measures the success of Fred Hates Fashion not by the dollars that it brings in, but by the people who are involved with it. “FHF couldn’t exist without the dedicated volunteers and honest artists who handcraft the project purely because they believe in the vision. I will always be a ‘struggling artist’ and whilst I know that financial support would solve a lot of our problems, I also remind myself that if we can't do amazing things without money, how are we going to manage the financial magnitude that comes with it? None of us take action because we are rich; we are rich because we take action.”

The Fred Hates Fashion event brings together art, film, music and fashion, and it is driven by collaboration, through both traditional and unconventional means. Seven hand-picked emerging and established designers, seven of the best emerging directors of the local film scene and seven music composers take on the challenge of creating their own fashion films, culminating in one runway presentation. Each of the teams work without the knowledge of what the other is doing, and whilst there is a healthy level of competition and a sense of mystery, they all work towards the same creative goal, with the same collaborative values in mind. The number seven has no significance, but the act of bringing together the individual work of individual people, as one group, is what holds significance to Hinny. “When I went to watch Marvel's Avengers for the first time, the film didn’t start in the cinema; it started in the lobby where all the movie posters were displayed - a group of superheroes, each with their own poster, each with their own special power and their own purpose. They were all ‘super’ in their own way and it was a personal choice as to which one you loved the most and why. I wanted to recreate that fandom in fashion. Designers are superheroes to me and their filmmakers are their partners in crime. Together, we want to glorify them.” With such a strong and unadulterated ethos behind the event, it is no wonder why Fred Hates Fashion is approaching its third successful year, although it’s possible that Hinny’s over-active mind also has something to do with it. He is constantly looking for patterns, reading reports, asking questions, identifying trends and observing behaviour. “I'm always asking, ‘If we can pop corn, what else can we pop?’ and it's a hypothesis that compels me to commit time, passion, and hard work, to find the answer.”

It is so refreshing that the wide spread acclaim of Hinny’s work hasn’t gone to his head. He distances himself from the typical film buff guise and whilst he looks to the work of other local artists like the Askil brothers for inspiration, he is nonchalant about the glitter and glam of it all. “I don't know all the names of famous directors and I'm particularly uncool when a film convo is going on. Somebody recently told me that my work seemed inspired by Stanley Kubrick (Clockwork Orange), but I had no idea who he was. After Googling him, I love Stanley Kubrick now.” As for any imparting advice for future creative directors or film makers, Hinny’s suggestions are simple: “If you don’t know where to start, start with a crazy thought. If you don't have a crazy thought, start with a happy thought.” By Claire Goldsworthy.

Allan Lim has recently stepped up as Co-Creative Director of Fred Hates Fashion and he shares the same vision for the event. It is clear that behind the extravagance of it all, a very close-knit and dedicated team exists. “We are a relatively small and tight team, but if you work with us, respect us and have a great attitude, no matter how short or long your stay is, you’re a part of our family. A huge part of the project is the emotional management and 9

www.hinnytran.com www.fredhatesfashion.com

FIRST LOOK The 2015 Fred Hates Fashion campaigns feature local designers Natalie Kieleithner (left) and Joel Gionis (below), starring models Rowena Xi Kang and Nick Sampson.

Producers: Dee Huynh, Bianca Meredith Director: Hinny Tran 1st AD + Retouch: Allan Lim DOP: Dan Von Czarnecki Director of Makeup + Hair: Lizzie Sharp Assistant MUA: Taryn Gionis Assitant Hair Stylist: Joel Gionis Stylist: Milana Demina Stylist: Joel Gionis Stylist: Hinny Tran Assistant Stylist: Tom Cumming

Buy tickets: www.fredhatesfashion.com August 29, 2015

10 questions

thom kerr

What do you do? I'm a fashion and celebrity photographer that splits his time between the Australian and US market. Why do you do it? I've always been a daydreamer, so becoming a conceptual photographer created a way for me to make a living from channeling my imagination and breathing it into reality. Where do you it? I'm a gun for hire, meaning that I create wherever I am and wherever I'm paid to be. I've shot in London, Paris, New York, Los Angeles, Indonesia, New Zealand and Australia. I've let go of any traditional ideas of where my life will take me, which makes the present more enjoyable. What are you currently working on? Right now I'm writing to you from Los Angeles. I'm on an editorial assignment shooting a cover and main fashion story for a new print magazine called Tangent. I'll be here for another three days before flying back to Australia, then I'm working with Ernest Hemingway's granddaughter Langley Fox, who is an illustrator as well as a popular model. What’s it like being the Australian Editor of Black Magazine? I love Black magazine. It’s one of the very last true independent magazine channels for original fashion and creativity in the Australasian market, which is difficult to find these days as everyone is fighting for advertising dollars and sacrificing artistic exploration or integrity to appease their backers. My editors have always given me the room to explore my aesthetic as well as bringing in contributors who are producing fresh content that doesn't look like everyone else’s. I'm a big champion of the publication and if you love magazines, you need to hunt it down and purchase a copy! Elaborate on the latest issue’s cover and why you chose the feature the designers you did? That shoot was a spontaneous moment after our Australian editorial team had been covering Sydney fashion week. I've shot Marthe Wiggers before for Black Magazine - I think she has an incredible look and will have an exciting future in the business - so our Australian fashion editor Sarah Birchley chose some of her favourite looks from the new collections and we decided to pull together the shoot with her at the end of the week. The flowers were a last minute idea when I saw which dresses had arrived. Whilst Marthe was in hair and makeup, I took iPhone snaps and walked to a local florist and chose a flower to represent each design. Gemma Elaine created the beautiful makeup and the extraordinary hand crafted wig was hand cut by Iggy Rosales the night before the shoot (he was up until 4am cutting). Subconsciously the hair looked like a flower itself, and although it was a quick shoot, I love the final result. I think the shoot is a good example of the power of simplicity when the elements are crafted very carefully. What’s it like working with Kimbra? I was a fan before I worked with her so it's always exciting having so much music to draw from, in terms of creating a visual world. I think we have a healthy relationship where we challenge each other to think in new ways and I feel very honoured to have witnessed her journey and been allowed access into her adventures. I have tremendous respect for her as an artist and a human being. I would highly recommend purchasing the album 'The Golden Echo' from iTunes and having a listen on an excellent set of headphones. It really is an extraordinary piece of work. I think both of us share the journey of dancing between the commercial realities of our industries and the artistic pursuit of possibility that our creative-selves strive for. Who’s your model muse and why? I don't think I have one particular model muse. If you look at the girls I've worked with in the past, I'm always looking for someone with incredibly distinctive features who omits a strong emotion in her photos. I'm lucky because I've now worked with so many of my favourite models, which seemed impossible to me when I was first starting out my career. I like strong women with strong personalities, who have conviction and passion. Coming from a family of five sisters meant that I was always comfortable with strong female role models and it feels very natural to me. I'm not interested in creating imagery where women are sexual objects or victims. I think at times sexuality can be a theme in my pictures, but the woman always feels powerful. What’s your guilty fashion pleasure? Going shopping just for myself. I'm surrounded by luxury fashion so much in my day-to-day activities that I feel like I get my fashion fix from the shoots alone. So when I take time out with friends or by myself to go purchase a beautiful pair of shoes or a beautiful outfit, that feels like something special just for me, no one else. Is Tyra Banks really that fierce? I didn't know what to expect but I found her to be charming, lovely and down to earth. She was incredibly approachable to everyone on set (the Tyra Banks for Black Magazine shoot) and she was passionate about getting the best image possible. After the whole experience I have an incredible respect for her as a human being (particularly after our interview) and for me, she has become a symbol of determination and not to take what everyone tells you to heart. If you look at her personal story outside of the chaos of the top model franchise, you really see someone who has constantly broken boundaries and forged her own future. I respect her. Photography: THOM KERR Styling: SARAH BIRCHLEY Beauty: GEMMA ELAINE Hair: IGGY ROSALES Model: MARTHE WIGGERS (IMG) Image borrowed courtesy of Black Magazine 13

siren of the sea Megan Greenwood is stunning; the type of old world natural beauty that surpasses the need for make-up or elaborate facades, with a smile that lights up the room. If you were to pick her up and drop her 1000 years into history, she would be ‘Megan, Siren of the Sea’, her myth written into children’s story books and her mysterious crafting magic envied by all that whispered her name.

The fairytale that unfolds is inspiring and stems from humble beginnings on a farm in country New South Wales. “I was always surrounded by beautiful landscapes and animals, and living in the country called for a good imagination. I would collect objects and turn them into sculptures and work with friends painting murals or sewing, and even designing gardens and homes - if it was creative, I gave it a go!”

Her jewellery label, Emgee, has been featured in Australian Country Style, Yen and The Sunday Mail, and her handcrafted pieces have been worn by the likes of Melbourne socialite Lady Petrova, right through to internationally recognized icon, Russell Brand. Megan was also recently named the RAW Australia Accessories Designer of the Year, which is no mean feat in a competition against thousands.

What started as fun and games growing up, turned into something directional for Megan, and she began to craft intricate little creatures from antique silver cutlery. This was the beginning of Emgee. “I created my brand as an extension of me, which I refer to as ‘her’, as I find it easier to tell ‘her’ stories as a free spirited woman, a little bird who is full of adventures and imagination.” 16

Megan was often stopped in the street by complete strangers and complimented on her jewellery and the custom orders began trickling in. “All of a sudden I was stocked in eight stores around Melbourne! I wanted a little more experience though, so in 2012/13 I studied at Box hill Institute and completed my Advanced Diploma in Engineering and Design in Jewellery.” Self-motivated and seemingly unstoppable, Megan then started curating her first full collection and runway show for RAW Melbourne the minute she graduated, and her recognition with RAW only grew. Megan was recently named the RAW Australia Accessories Designer of the Year, which has offered national exposure for her brand. “It was an amazing experience and one that I won’t forget! It gave me a taste of what it’s like putting shows together, working with models and artists, and meeting tight deadlines. I learnt a lot about myself and now know that I can do anything that I put my mind to. I still feel like I'm just getting started, however there are so many more avenues open to me now.” Megan’s unique and whimsical aesthetic underpins her award, and her outstanding eye for detail and incredible craftsmanship make for an extremely coveted label. The consistent sea theme throughout her work and miniature seahorses, urchins, shells and anemone are delicate recreations of her own experiences. “For the past 3 years I have had a strong urge to be close to the sea. I have always been a water child and it’s something I miss most days! My work is mostly nautical themed but the inspiration stems from more than just growing up around water or dreaming of mermaids. I draw a lot of inspiration from old black and white films, stage shows, and 1920’s photographs of beautiful women in their risqué costumes. One of my favourite reflections is a film by George Melies titled, The Mermaid (La Sirene).” And although Megan appears to have it all together from where we’re sitting, she’s constantly working towards future goals. “I'm only two years graduated so I feel like there is still so much to do! At the moment I'm focusing on finishing my current collections and getting my website up and running, but my long-term goals are to create works for runway and film, and also open a shop or gallery/studio. I have two exhibitions in mind that I have been obsessing over and I’d love to collaborate with some of my favourite designers.” With an incredible passion for her hand made works of art and her drive to succeed, there isn’t a sea that Megan couldn’t conquer. “And if I can give any advice to other jewellery designers… Make the things you wish existed! Get obsessed and keep on dreaming, and design all the time and don't hold back. Don't think about what you should or shouldn't be making. If you love what you’re doing, others will too. Never stop learning, talk to others in the industry, and always think about ways to improve as a business. I will admit from experience, it does take time and money to make some of the most exciting pieces, and these are the two things that often hold me up, however I will not allow it to discourage me. Be a hard worker and it will pay off. And lastly but most importantly; do not compare your work with others, it’s really important to have faith in yourself and your own work.” By Katelyn Rew. Photos: Ashleigh Dondio.

www.facebook.com/helloemgee www.etsy.com/au/people/thelittleshopofemgee

THE SIRENS CALL Photography: Ashleigh Dondio Photography Model: Alice Johnston Jewellery: Emgee HMUA: ByFarnoosh Assistant: Darcee Smith

BEACH GYPSY Photography: Darcee Smith Photography Gypsies: Melanie Kirby, Sally Clarke, Siahn Beach MUA: ByFarnoosh Hair: Isabel Northey Stylist: Caitlin Quick (ft Spell Designs) Accessories: Billi Blues (ft Jaguar Paws boots) Jewellery: Emgee

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TimiAlaere is a Melbourne based womenswear label, showcasing eclectic designs inspired by cross-cultural references. Designer Timi Onduku-Pedley continues to develop the labelâ&#x20AC;&#x2122;s aesthetic concepts with original in-house-designed vibrant, bold and patterned prints. Timi is inspired by her every day Australian surrounds, as well as her colourful African heritage.

La Biquini delivers a fun and colourful yet sexy range of swimwear to girls who crave something different. Each piece is carefully designed and delicately handcrafted in Australia, and bears a unique fusion of colour, shape, fit and quality. With a major emphasis on superior fabrics, trims and workmanship, only the very special pieces make the final cut for production.

Coco & Max is a new independent Melbourne based label, creating futuristic fusions of well-tailored sports and street wear. All collections are limited editions, numbered by hand and never repeated. Every garment is proudly 100% manufactured in Melbourne, to support fair local trade.

Inspired by luxury and sophistication, Allure Collections features timeless designs for the ultimate modern woman. Fierce, daring and strong, her captivating aura and vibrant energy are contagious. Allure Collections pieces flatter the female form with a timeless monochromatic palette, stunning simple cuts and beautiful fabrics.

dress collective

Kook Culture is exactly what the name suggests. Everything is handmade or recycled and produced in New South Wales. The Kook Culture is creative, thought provoking and expressive. It's fun, playful and unique. It's a rebellion against outsourcing of manufacturing and money taking priority over feeding back into the community.

Elegance, sophistication and comfort all form a platform for Shamscreations, whose collections consist of garments which play with structure and shape, scale and proportion through an examination of the aesthetic components of buildings. Shamscreations is a brand that is an answer to the busy working woman.

Lois Hazel is a Melbourne based designer. Her designs are detailed, precise and mindful of the need to be unique without sacrificing simple elegance. She works with a range of mediums to produce garments that evolve around a precise conceptual point and reflect her unique interpretations of form.

Dharexclusive is an Australian resort-wear label for sun loving beach goers. Inspired by native exotic floral patterns and complemented with refreshing bold colour palettes, Dharexclusive designer swimwear styles are for modern, classy and chic women who love to flatter their bodies.

nailed it www.limedrop.com.au Melbourne fashion label Limedrop have launched an elaborate collection of nail polish entitled 50 Shades of Australia. The entire range is 100% Australian made, Choose Cruelty Free accredited, vegan-friendly and contains no chemical nasties. Designer Clea Garrick has combined the iconic memories of her childhood with quirky cultural references of Australiana, and with names like Great Barrier Reef, Bunyip, Wake Up Jeff, Prawn Cocktail and Gold Coast, thereâ&#x20AC;&#x2122;s no shortage of character in this collection.

BARBIE Q

BLINKY BILL

Kester Black and Trophy Wife have once again joined forces to release two new collaborative colours, Narcissist and Arm Candy. Nail enthusiasts are sure to be pleased with the bold new hues and beauty-holics will be impressed with the fine print; the Australian made polishes are vegan friendly and Choose Cruelty Free accredited. www.kesterblack.com

against thegrain Graine is a family owned and operated leather accessory label designed and made in Melbourne. Each piece is fresh and unique with a subtle point of difference and an emphasis on materials, functionality and durability. Their combined years of experience working with leather have helped them to create beautiful accessories that go â&#x20AC;&#x2DC;against the grain'. Each item is made individually one at a time allowing the Graine craftsmen to give the required care and attention to each piece, and developers have spent countless hours product testing the range to ensure Graine goods survive lifeâ&#x20AC;&#x2122;s many adventures. Graine leathers are predominantly from the Tuscan tanning region of northern Italy and are complimented with Australian leather. www.graine.com.au

rags to richmond clutch $149.95

lygon luxe bag $249.95

meet me at degraves clutch $149.95

high street coiner $39.95

shelly gow kinki gerlinki Earlier in the year we released ‘A Day In The Life Of Shelly Gow, Kinki Gerlinki’s Head Designer: Part One’ on the blog, and we’ve saved Part Two until now. With such a creative head designer like Shelly Gow to write about, there was just too much to pack into one article. If you didn’t catch Part One, Kinki Gerlinki is a Melbourne based independent label and it’s been one of the city’s fashion staples for over 10 years. Everything is dreamt up, designed and produced in the Kinki Gerlinki head office on Sydney Road in Brunswick and they craft to their own code, ‘individuality and creativity.’ Rewind to the beginning and Shelly Gow wasn’t always a designer; she studied Environmental Science but was always inspired by her creative side. In her spare time she dabbled in fashion making clothes with a friend, which were casually stocked in one or two local stores. After completing her Environment Science degree, Shelly couldn’t ignore her true calling any longer and studied an Advanced Diploma in Clothing Production, Design and Textiles. Now, Shelly has been the Kinki Gerlinki Head Designer for two years, taking on the role that original founder, Nicole Fraser, left behind. Nicole shaped Kinki Gerlinki into the brand it is today over fifteen years of hard work, which is what truly drives Shelly. “I look at high end designers like Marni and Louis Vuitton for global inspiration sometimes, as well as the people that wear our clothes, but the real inspiration for me is more about keeping up the great work and standard that Nicole set.” There brand has it’s own unique aesthetic, but Shelly is always thinking about collaborations that would suit. In particular she dreams of one with Yayoi Kusama, a Japanese artist and writer, and if you’ve seen any one of Kinki Gerlinki’s collections, it’s easy to understand why. “Her use of bold psychedelic colours are fantastic! Australian born and bred clothing designers Romance Was Born would be pretty cool to work with as well, for obvious reasons. If Tretchikoff was still alive it would be great to have a range of his Asian and African female portraits printed onto our garments too, I have his very famous and most popular 'Chinese Girl' and 'Lady of Orient' hung on my walls at home. I get very inspired by these.” As for her favourite pieces within her own brand, Shelly is unable to choose like a parent refusing to play favourites, but there are designs she is proud of. “I change my mind all the time, but I'd say the Silk Western Inspired Shirt or Rainbow Lace Mini Dress - for the fabric, very cool fabric! The Ballentyne Dress is a standout too and the plunging back neck line is very feminine, it’s actually a piece from our previous range when Nicole was designing and it was re-made in a different fabric because of its popularity.” But despite this popularity and the growing following of the brand, Shelly remains humble and keeps attainable goals in mind to ensure that Kinki Gerlinki is always evolving and striving for a higher standard of quality and deeper concepts. This is not to say that their current state lacks either of the 27

aforementioned, but Shelly is adamant that constantly improving and reviewing strategies is the key to sustaining a fashion business. Shelly would also like to focus on smaller ranges in the future to allow bigger budgets for each garment. “A smaller scale means more silks and embellished fabrics, more design details, and more intricacy. In saying this, I would love to see Kinki Gerlinki as a part of Melbourne Fashion Week or in the pages of Vogue, but I’m striving for the brand to be appreciated and worn by more people. It’s about creating a strong voice in general.” And if you’re considering design or a fashion related field yourself, Shelly can offer some good advice too. “I guess the answer that comes naturally is the simple one; do what feels good and inspires you and you'll navigate yourself wherever you need to go. As soon as it becomes anything less than natural or inspiring, it's not worth it.” Shelly strongly recommends exploring internships in the early stages of a fashion career too, and getting experience with designers to establish a sense of direction before embarking on your own journey is very important. “It works both ways with interns though; Ellie Meyer is currently doing her Masters at RMIT and has been interning with me for 2 years. She has had a huge impact on the label and I couldn't of done it without her.” Whilst Shelly plans to develop and grow the brand over the coming years, she also has plans for her own upcoming clothing label with good friend Amy Dickinson, among other things, “I’d love to throw a few holiday houses in the mix too, maybe Mexico, Byron Bay, San Francisco, but they’re fantasies for another day!” By Amanda Cunningham.

www.kinkigerlinki.com.au 209 Sydney Road Brunswick Victoria 3056

camaieu Top: The Fifth Pants: Bless'ed Are The Meek

Photography: Morgan Macleod Model: Taylen Pearce Stylist: Lara Quill

Top: Talulah Pants: BC

Dress: Staple The Label 30

zoe champion Sydney born Zoe Champion is inspired by the world around her. She combines organic ethereal aesthetics with technically intricate and experimental knitwear fabrications, and creates her own knitted textiles. Through layering and combining sheer and chunky knits, Zoe reinterprets traditional knitwear techniques and garments. Her most recent collection, DISPERSION, is an investigation into the relationship between humanity and the habitats in which we live. It draws upon the formations and textures of six prevalent elements present in the natural world. Concocting an eloquent vision of natureâ&#x20AC;&#x2122;s reclamation of the feminine form through an amalgamation of inventive textiles and fabric combinations, DISPERSION conveys a delicate message. The collection is motivated by innovative-engineered textiles, designed to explore the possibilities of both light gauge transparent knits and heavier textured knits. The collection utilises the unique properties of knit as a fabric to inform the silhouette and finishes within the garment, using needle felting as a bind to exaggerate the warm fleecy feel of wool, which is juxtaposed by the incredibly fine and elusive poly-cotton drop stitch pieces. www.zoechampion.com

Photography: Natasha Killeen Model: Lily Connors HMUA: Kelli Malseed

bella mcgoldrick

The Ostentatious Maiden + Her Envious Green Fur

Inhabiting the luxurious world of Bella McGoldrick is beautifully blinding; pastel pink silks, soft furs and endless rhinestones paint a shimmering picture of splendour. Bella’s intimate connection with fashion defines her label’s sumptuous aesthetic and her holistic approach to her long-term dream is sobering, yet Bella’s yellow brick road has been anything but easy-going. Bella is currently undertaking her Honours at RMIT University in Melbourne, but the gems of her fashion journey were found abroad, where she studied at Paris College of Art (formally Parsons Paris) in France. Bella spent this time wisely, creating her own dazzling Parisian collection and co-curating a student exhibition at Musee Le Pavè D’Orsay. But, as glamorous as this all sounds, Bella’s Parisian venture was tough. “Paris was an incredible experience! I'm so lucky to have been able to do that during my studies, but getting accepted to PCA was honestly one of the hardest things I've ever done! The application process was so complicated and with the language barrier, it was virtually impossible. In saying that, it was so worth it and I'd do it one hundred times over!” To be accepted into PCA on a first round application is extremely rare, considering that the likes of Tom Ford, Donna Karan (DKNY ) Marc Jacobs and Alexander Wang were her predecessors, but the promise of Bella’s future shone through. “The standards were definitely prevalent, especially with the expectations from teachers, some of which were previously Head Designers at Balmain or had worked with Jean Paul Gaultier for 20 years. There wasn't any more pressure than what I feel in Melbourne at RMIT, but it was a different kind of purpose; I was creating collections that I would want to show design houses in order to get a job and it was more focused on putting my garments out into the world rather than just self expression.” Regardless of the expectations and nature of her learnings at PCA, Bella excelled, and winning the Sophia Hallet Junior Design Award opened some of the most fashionable doors. “It was amazing to be recognized internationally for my work, as I've always hoped my work would speak to a number of audiences. It was validation that the risks I had taken were accepted in such a prestigious setting and it helped me land my first internship with Rag and Bone, and later 3.1 Phillip Lim and Alexander Wang.” Bella attributes her broadened appreciation of the fashion industry to these experiences interning abroad, and despite the common coffee gaffer and mailroom misconceptions, she knows now that interning is a necessity. “Interning at Alexan-

der Wang was great and I was part of such an amazing team. I interned before, during and after Paris Fashion Week, so I learnt a lot about the preparation leading up to such a respected event, and also the sales side of things and post-event breakdown.” Now back home and working towards her own dreams; Bella draws her inspiration from the non-tangible things in life. “Everything and anything can inspire me, but I tend to be inspired most by moods or emotions. I want to create clothes that make the wearer feel something. I'm not about making collections ‘inspired by birds’, because for me, that’s too two-dimensional. I prefer representing intentions, values or aspirations, and building them through cloth, silhouettes or embellishment.” It is this complexity in design that underpins the uniqueness of her work, and when Bella describes why she feels what she does for fashion, it sends chills up my spine. “Fashion is how we choose to represent ourselves in the world. It's inescapable and every human is involved in it one way or another. It is an interesting journey coming to understand fashion and in turn, you can come to understand people. To me, fashion should be enjoyable, it should be exciting and pleasing and that's what I aim to create in my designs. I develop garments in an expository manner but always with the end vision in sight. Whilst I might not create garments that are all together wearable in typical social settings, they're to be enjoyed and celebrated for the possibilities that could be. Making wearable clothing is too boring and I can’t compete with Zara or Topshop but I don't want to offer something that can be seen in every shop window anyway.” And the process of a Bella McGoldrick piece is every bit as dazzling as the finished project, but unlike many designers who dread the sketching and planning phase, Bella loves it and even makes a living from it. “I have always had a strong artistic side. Before I decided to study fashion, it was a toss up between that and Fine Arts. I'm 100% happy I chose fashion because it lends me to the artistic realm anyway and allows me to still illustrate. The first illustration I sold was in Paris; it was accompanying my garments at a student exhibition but it didn't really sink in that I could make a living from it. When I came back to Melbourne, I was too poor to buy my friends’ 21st presents, so I started illustrating for them instead. Friends of friends and siblings of friends started to want them and said they'd pay, so it just went from there and now it's my full source of income.” Bella now sells her one-off prints through Instagram (@bm.illustrations) and despite the acclamation she receives for her high quality of work and attention to detail, she is avoiding the urge to over-commercialise their direction. “I know I should be doing more ‘celebrity portraits’ to get more attention but I have more work than I can handle at the moment with my studies! It's incredible how much attention Instagram gives you; no one has reposted my work yet but Gigi Hadid (international super model) has liked my illustrations of her and each time, two or three thousand other people will like the photo, it's crazy.” And just when Bella thought that juggling her illustration career, her label and high-pressure studies was manageable, she was recently chosen as one of only 25 emerging designers from a class of 85 to showcase at Melbourne Spring Fashion Week. “It's something that I've wanted more than anything since starting my degree, and it's these things that continue to motivate me. By having these seemingly unattainable goals and then actually reaching them, it makes me so excited for my bigger goals in the future.” Bella is not the only one excited; we’re eagerly awaiting her forthcoming collection and if her past work is anything to go by, the front row at Melbourne Spring Fashion Week will be impressed. “Let's hope people are on the edge of their seats! This collection is loud; it's ostentatious and lavish. Not only is it my biggest collection to date, but also it’s the biggest literally, in terms of silhouette, elaborate fabric and embellishment use. I've reflected on what has been successful in the past and then pushed those ideas further and made them bigger, so it's not a collection that can be 37

easily missed. In class, I'm know as the ‘green fur lady’, if that gives anything away!” Bathe in the beauty that is Bella McGoldrick on August 30 for the Emerging Designers Runway at Melbourne Spring Fashion Week. By Paul Caccamo.

www.bellamcgoldrick.com

Bella developed this garment from a series of surface manipulation techniques, using a traditional knitting manner, yet with non-traditional matter. Molded and manipulated, the garment was knotted around the female torso form and set with varnish. The self-standing garment explores the notion of pushing boundaries; of taking an idea, an age-old technique and pulling it into new dimensions.

“To live apart from expectations, is the true meaning of freedom. When that can’t be achieved, however, one must push the limitations to which they’ve been caged in.” Street Smarts is the aesthetical answer to self controlled problems. The shirt is no longer office wear and street wear is no longer grunge. The collection reforms the presumptions built into society about the appropriate attire for groups rather than individuals.

solum shores Ribbed knit: POL Pencil skirt: Shona Joy Coat: Luxe Deluxe

Sweater: Luxe Deluxe

Photography: Stephanie Thy Model: Juliette (Giant Management) Stylist: Eryn Rose MUA: Isabel Northey All clothing from Obdressed 2/122 Ormond Road Elwood VIC 3184

Sweater: Luxe Deluxe Cardigan: Luxe Deluxe 40

karenwoo Behind The Lens

Karen Woo is an incredible human being. When we first met, she went straight in for a hug instead of shaking hands and within five minutes I felt like we’d known each other for months. It’s not often that I meet people who make me feel comfortable in the fashion world, but Karen’s warm nature and happy-go-lucky smile has a way of making things feel natural. It always inspires me meeting people who have a mountain of work to boast about, yet they remain humble, and Karen is exactly that. Despite the fact that she ranks in at number one on Google under ‘Melbourne fashion photographer’, and despite the fact that the faces she’s snapped are household names, Karen is incredibly modest about her achievements. She’s worked hard to get to where she is today and whilst her fashion photography career is still relatively fresh, her business and strategy acumen is ingrained. When Karen first told her parents that she wanted to study visual arts, they said no, and told her she needed to find a financially supportive career and a ‘proper job’. Karen put her creative passions aside and started a Science degree instead, and she studied biology, pharmacology, microbiology, immunology and psychology. Whilst it was extremely tough, there was still a creative element, and it taught Karen how to manage her time and apply herself. But after graduating, Karen wasn’t content with a science life and instead enrolled at Monash and worked towards her Masters of Business Systems. Karen absolutely loved her business subjects, and she excelled in every one. And whilst she can still remember the day she told her parents about her creative dreams and the feeling of being told ‘no’, she’s realistic about what her degrees have done for her own businesses now. Being a Business Consultant taught Karen how to engage with people and it developed her understanding of strategy and business decisions. In hindsight, Karen understands now that listening to her parents was definitely worth it and she can see the reasons why they wanted her to pursue something strategic. “If I had tried to get into photography without any business knowledge in the beginning, I wouldn’t be where I am today and I definitely wouldn’t have the people skills.” Karen worked as a Senior Business Consultant for nearly eight years amongst the world’s leading financial institutions before taking a leap of faith into photography, because although she loved her job in the IT and business industry, photography was always in the back of her mind. “I grew up having my photo taken by my dad all the time, he had this zoom lens and used to hide like a sniper and take close up photos when I wasn’t ready! I hated the close ups, but I loved that he always took photos of my mum and family. I remember picking up his SLR when I was kid and thinking, God this is so heavy, and I had no idea how to use it so I put it down and didn’t ask him to teach me. But when I got married and moved to Melbourne from Canberra a few years ago, that’s when it really started.” The move to Melbourne seemed to be the perfect timing too; Karen’s husband Alan was being transferred through his IT firm and the GFC meant Karen was made redundant from her consultancy role. She also fell pregnant with her son, who is now three and a half, so the down time reshuffled her career direction and things began to fall into place. “All of our friends started to get married and they knew Alan and I had played around a little with photography, so we started shooting weddings. We surprised ourselves and things were turning out ok, so we took it seriously and did some wedding photography workshops to learn about light, posing and the technical details. Business was really picking up so we started a website for Finessence Photography and opened a little studio.” Again, Karen’s modesty leaves a few definitive details to the imagination, and what she describes as ‘turning out ok’ is actually a long list of photography awards including eight Silver Australian Professional Photography Awards, four Silver Victorian Professional Photographer of the Year Awards and a Silver Canon Creative Asia Photography Award, as well as a host of online and print editorial titles; 100 Layered Cake, Melbourne Wedding and

Bride, Complete Weddings and Maters of Weddings. Karen takes Finessence Photography seriously, and her passion for working with people underpins its success. “A lot of people don’t take wedding photography seriously and think it’s not very important, but it’s actually really special. I share such a significant day with the couple and they welcome me into their lives, it’s so personal. I really enjoy it and we always take the couple out to dinner to get to know them first so that the wedding day is more comfortable.” Karen’s personalized experience carries into her role as a street style photographer too. “A lot of people aren’t comfortable with being stopped on the street and posing in public, but I just start a conversation first, and then it’s natural. I really enjoy talking to people and complementing them, and it’s important to me to engage individually with each person.” The act of street style photography may sound simple, but earning her stripes and street credit as the ‘Karen Woo’ brand has been anything but. She’s grown to understand her own sense of style and what intrigues her, and that’s something that Karen has developed after working with Jess Dempsey of What Would Karl Do, for a few years now. “I was shooting with What Would Karl Do for about two years before I even thought about street style, and Jess used to tell me all the time I had an eye for it and kept encouraging me. I had Finessence to think about and I wanted to consider my husband, because we both quit our jobs to start a business together. I didn’t want to go rogue with street style, because I’ve never done anything that doesn’t have a purpose, and I wanted to wait until we were both financially ready.” It wasn’t until 2014 that Karen really got out on the streets with her camera, but what felt alien to her in the beginning, is now second nature. Her natural talent with street style photography has taken her to fashion weeks around the world, and, never one to ignore the business and analytical side of things, she uses her time on the streets wisely. “Doing street style is a way of doing my own PR and getting myself out there. It’s the only way to be found as a photographer, getting out and about, meeting people at events, being on the streets. The time I spend working on my street style shots is time invested in myself to let people know that I am here, and I like letting people see me in action.” And news travels fast when street style is concerned. It wasn’t long until some of the industry’s most loved bloggers and socialites were vying for Karen’s attention on the street: Zanita, Twice Blessed, Margaret Zhang, 42

Brooke Testoni, They All Hate Us, Cecylia, Elyse Knowles, Nikki Phillips, Friend In Fashion, Bryan Boy, See Want Shop, Oracle Fox, The Haute Pursuit… Karen proudly hangs each and every one of her magical shots in an organized display some three meters long and high in her studio. “Paris Hilton was probably my most memorable shot though! I was at New York Fashion Week and she was surrounded by fifty or sixty other photographers. Luckily I’m so short, because I just weaved under them all and got right to the front. Snap, snap, snap and I was done, it was crazy!” Karen isn’t shy about being short either, she’s actually quite proud of it. Earlier in the year, Karen was one of fifteen Australian Finalists to be chosen by Target Australia and Dannii Minogue for the Walk The Runway Petite Posse campaign. “I didn’t know at the time I would have to walk on the runway, but I thought it would be good exposure and all I wanted to do was write about why I was proud to be short! Dannii invited me to the model casting and when I realized I was expected to walk, my jaw dropped. The night before, I practiced walking and up down for about ten minutes and then just laughed at myself and realized it didn’t matter, I just wanted to see what it was all about. I didn’t make the cut but it was a great experience.” Karen takes each and every one of her fascinating experiences in her stride, and as she continually offers good advice. “There are no bad decisions in business. I’ve moved my studio to Canterbury now and share a space with really creative people but that doesn’t mean that my first studio and shop front was a bad decision. You need to make mistakes to know what doesn’t work, so the only bad decision in business, is not learning from mistakes.” Karen is also very strict when it comes to managing a healthy work/life balance, and juggling a career, a business, being a mother and a wife is no easy feat. “You need to learn to switch off and it’s taken me a long time to control my time. I’m still learning to balance my life, my husband and my business because it’s hard that he’s also a business partner and I forget sometimes that I need to step away from the business aspect and be a wife. He gets a little cranky that I am constantly working, on the phone, behind the camera, but he’s always there to support me and I’m really grateful for that. But, if you’re constantly running around, your mind doesn’t rest, and if I’m not in the right frame of mind, I can’t give the best results for my clients.” Karen approaches everything with an equally analytic and creative mind, and as we both neared the bottom of our coffee cups, I felt as though I’d learnt just as much about life in general as I had about Karen’s journey. She’s been told countless times that she has changed a client’s life through her photography, regardless of it’s setting on the street, in the studio or at a wedding, and without sounding too cliché, the inspiration I found Karen to be surpasses just her photography work. “I don’t see myself as a photographer; half the time I am counseling because you have to be able to read people very well. With street style, it’s always fun, and I want to give someone a five minute shoot of their own, I want to make it memorable. Part of my work is about understanding people and helping people feel better about the way they look. I quit my job in an office making a lot of money, but I was working so hard for what? I would rather make someone happy every day, that’s what I want to do. I still have to think about business and money, but my heart is with making other people happy and being creative. Really, it is the people that I care about.” By Claire Goldsworthy.

www.fashionphotographymelbourne.com.au

Karen snapped Gary Pepper at Mercedes-Benz Fashion Week Australia 2014

Karen snapped Bill Cunningham at Mercedes-Benz Fashion Week New York 2014

Karen snapped Susie Bubble at Mercedes-Benz Fashion Week Australia 2014

Karen snapped Grace Coddington at Mercedes-Benz Fashion Week New York 2014

NATASHA DEARDEN Natasha Dearden is Melbourne based fashion illustrator and designer. She uses a combination of traditional and innovative techniques, including hand sketching, water colour, embellishments and hot fix crystals. Her whimsical style and finely tuned attention to detail makes for the most delicate of pieces. Shop these prints at www.thedresscollective.com.

GOLDEN QUEEN Watercolour, paper, acid free glue, pen, acrylic paint and hot fix crystals

DAY DREAMER Watercolour, paper, acid free glue, pen, polish and hot fix crystals

EMPRESS Watercolourr, paper, acid free glue, pen, watercolour and hot fix crystals

NATASHA DEARDEN

www.jasonebeyer.com

DIE YOUNG

Feast your eyes on the art of Jason Ebeyer. He's a young emerging artist and designer from Melbourne who creates fashion-focused work through a mixture of different digital mediums. Inspired by pop culture, high fashion and the social experience, Jason likes to explain each artwork as little as possible to give the viewer an opportunity to make a subjective interpretation without any influence. The composition of each work is a combination of different collage elements and layers, which create new and interesting angles to be found each time that the work is viewed.

IRIDESCENT CORKSCREW

PLASTIC FLOW

benjamin ringuet 49

Once upon a time, people scoffed at the Brisbane fashion scene. Nowadays, labels are launching weekly and there are fashion collaborations left, right and center. As a Brisbane-bred boy, Benjamin Ringuet has seen first hand how the local fashion industry has evolved over recent years and his self-titled label, Ringuet, is championing this change. The seed of Benjamin’s label was planted long before he even knew it existed. “My childhood was very creative, I was always drawing, painting and making things from a young age. My mother’s family is very creative too and she’s a talented seamstress herself.” This nurtured appreciation of creativity, textiles and art gradually developed into something much more and Benjamin’s move into the fashion industry was a natural choice, but the journey that followed wasn’t as simple. “I was studying Fashion and Business full time at MSIT, working two jobs and spending weekends in the market scene selling my designs to the public, and I was also selling to a few stores.” His graduate collection, which he describes as ‘a time of self discovery’, was met with immense acclaim and it was a collection that cemented his name in the fashion industry. It wasn’t long before he was approached by The Loft Agency and the fruits of his labour well and truly began to bear. Now, the two other jobs and weekend markets have been replaced with a full-time Ringuet life, and the late nights, early mornings, long weeks and an intense workload keep Benjamin busy. “The fashion industry can be very competitive, but I would recommend always following your dreams.” And hoards of women from around the globe are just as happy that Benjamin persevered; the label is adored by the likes of bloggers Rebecca Judd Loves, We Live Like This, Not Your Standard, Lebrasse, Becky Rochow (who frequents the Gold Coast’s Best Dressed list), Yung Guts and W by White Wolfe. The brand’s popularity is not surprising - a Ringuet silhouette balances a fine line between feminine simplicity and structural boldness, with nipped waists, plunging necklines and hip-hugging pencil skirts. His appreciation of curves is evident in each piece and although he first started designing for men, his love of the female form prevailed. “I may also have a thing for legs! I started off strictly designing menswear in the beginning, but now I love designing for the female body because it’s challenging and fulfilling.” As for a Ringuet print, it’s easy to spot one. Although Benjamin won’t reveal the exact process or secrets behind his distinct digital prints, he does use a combination of sketching, painting, photography and digital manipulation to achieve a balanced composition. Most of Benjamin’s prints feature natural elements like fauna and flora, and whilst combining the digital and natural world is a paradox, there is a significance. “Every print I create has strong visual calculation, illusion or message. There are cues if you look closely. I simply use the body as a canvas to create art on.” A host of stars across a number of TV channels have been flaunting the label lately too; Jessica Rowe, Carrie Bickmore, Livinia Nixon and Scherri Lee Biggs have all been seen in a signature Ringuet print this week. It is safe to say that Brisbane’s fashion scene has a new favourite boy, and with stockists now scattered globally, Ringuet is in full bloom. By Claire Goldsworthy. www.myringuet.com 50

Ethical and sustainable clothing has never looked so good. Bold vibrant prints and versatile avant-garde designs draw people through the doors of The Cause’s basement location in Causeway House. It’s the relaxed atmosphere, quality clothing and commitment to ethical production that sees loyal customers return season after season. The Cause is an extension of Brunswick-favourite New Model Beauty Queen, which has set the tone in local sustainable clothing production for over a decade, firmly demonstrating its viability and necessity in today’s fashion industry. With a strong community focus, The Cause is designed and produced locally with a tight team of experienced machinists, costume designers and printmakers. The Cause also offers a unique creative fashion hub in the heart of Melbourne city boasting 200 square meters of operational retail space. The location truly stands out as a valuable edition to local designers and creatives with a fully operational sampling production floor, massive cutting table, multiple pattern drafting tables and industrial sewing machines with a variety of production functions.

VIP INVITE AUGUST 31, 2015 6:30PM Celebrate the official launch of The Cause and our new manufacturing space on August 31st at 6:30pm. Complimentry bubbles, runway, live music and space unveiling. Causeway House Basement 306 Causeway Lane Little Collins Street Melbourne Victoria 3000 www.thecausemelb.com.au

jolie

Saturday, September 12, 2015 at 6:30pm Le Bon Choix French Bakery 379 Queen St, Brisbane

Irreplaceable Events is proud to present Jolie, an evening of champagne, canapĂŠs and fashion. Held in the beautiful alfresco setting of French cafĂŠ Le Bon Choix, guests will be treated to delicious French food, sparkling champaign, live music, local talent, special acts and of course, a stunning luxury fashion show with collections from local Brisbane designers. The event not only promotes local fashion, but fashion for a cause, and proceeds will be donated to Dress For Success, a charity program which provides essential employment assistance to those in need. Enjoy the finer things in life and purchase tickets now at irreplaceableme.org or contact iamirreplaceableme@gmail.com for more details. Learn more about Dress For Success at Brisbane.dressforsuccess.org

Model: Tennesee Perkins, Joe Fox Designer: Suzzi K + Black Jacket Suiting Accessories: Jade Wood Designs (earings) Photographer: Belle-Vous Photography HMUA: Emma Jane Director: Hannah Park (Irreplaceable Events)

The Fashion Advocate’s Melbourne Spring Fashion Week Schedule Melbourne Spring Fashion Week has always been a favourite of ours; besides the fact that it’s another excuse to dress up and talk shop with other creative minds, it’s the start of the most beautiful season of the year. If you’re a fashion addict who can handle a full week’s worth of back-to-back shows and day after day of fashion exhibitions, films, events and interactive activities, then this year’s program will keep you well and truly busy. Pull out your diary, dust off those pumps and strap yourself in for The Fashion Advocate’s top ten must see and do events of Melbourne Spring Fashion Week 2015.

ORRY-KELLY: DRESSING HOLLYWOOD 21 AUGUST - 11 SEPTEMBER Orry-Kelly: Dressing Hollywood tells the tale of one of Australia’s most successful exports, Orry-Kelly, who dressed Hollywood’s hottest stars in the 30s, 40s and 50s. Whilst you may not know his name, you know the names of the stars he styled: Marilyn Monroe, Bette Davis and Katharine Hepburn. RE-FASHIONED 28 AUGUST - 31 AUGUST Nobody Denim is ECA Accredited and a-ok in our books. In their ongoing fight against fast fashion, they’ve donated off-cuts, remnants and old recycled stock to the Box Hill Bachelor of Fashion students who have pieced together a double-denim-doozy of an exhibition. FEATHERING THE NEST: RICHARD NYLON 28 AUGUST - 4 SEPTEMBER Melbourne’s most sought after milliner, Richard Nylon, will work his magic on the Fairhall House Museum alongside William Johnston’s decorative fine arts collection to deliver a multi-faceted exhibition of the two’s craftsmanship and creativity. CADIA BELANTE EXHIBITION 28 AUGUST - 4 SEPTEMBER Melbourne-based fashion designer Cadia Belante is an advocate of sustainable fashion and her forthcoming exhibition is a statement of just that. Inspired by second hand sleeping bags and other odd textile objects, the RMIT graduate explores repurposing and recycling to reduce landfill. SHOP THE CITY + VOGUE FASHION'S NIGHT OUT 28 AUGUST Make space in your schedule on Friday 28th August for Vogue Fashion’s Night Out. The Melbourne event kicks off the season for VFNO before moving onto the other 26 cities and 18 countries around the world, offering sales and specials from the most coveted fashion houses, retailers and brands. Break up the shopping binge and make your way to Little Bourke Street to catch the Emporium Melbourne Runway in between. FRED HATES FASHION 29 AUGUST Contrary to what the name suggest, Fred Hates Fashion is an inspiring, raw and painstakingly beautiful production house that challenges the way fashion is understood. The annual exhibition is a culmination of seven handpicked designers, emerging directors and music composers, who have joined forces to create their own original fashion films. Read our interview with Creative Director Hinny Tran in this month’s mag. EMERGING DESIGNER MARKET 30 AUGUST It takes a tough soldier to battle the market scene and it’s one that deserves support, so save your pennies and support the city’s up and coming designers at the Emerging Designer Market. EMERGING RUNWAY 1 AND 2 30 AUGUST The Melbourne Spring Fashion Week Emerging Runway series have launched countless labels and designers into the market over previous years, and it’s the best time to spot newfound favorites and fresh faces. MODERN LOVE 2 SEPTEMBER Three of our favourite labels on the one runway, what more could we want? Bul, Kuwaii and Limedrop will share the stage with Alexi Freeman, Asilio, Bless’ed are the meek, Leonard Street, Matcho Suba and YB J’AIME. Down tools and eyes peeled for this one. CRIKEY 2 SEPTEMBER Crikey may not sound like your average fashion event but it will be an exciting one. Lia. T and Kate Geck of O.T.T are set to release a limited edition collection but not in the traditional sense; this interactive tongue-in-cheek launch will take place in an Australian-themed mini-golf wonderland, complete with holographic roos and gold-plated tinnies.

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On August 31st at 6:30pm, the official unveiling of The Cause takes place, with an interactive runway featuring local ethical and sustainable brands as well as a full introduction to Melbourne’s newest fashion manufacturing space. Read more at www.thefashionadvocate.com. 56