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Australian Designer, Australian Fashion, Australian Fashion Industry

We. Are. The. Standard.

January 29

Late in 2017, I had the pleasure of attending the Fashion Design Studio’s graduate show held at the very funky, inner city warehouse venue, The Commune.  Wildly patronised and positively buzzing, it was clear this was going to be a memorable night.  And it didn’t disappoint.  I happened to be sitting next to someone who commented … Australian designers really are up with the best, aren’t they? I thought about this for a moment and replied, yes. A deeply resonant, Yes. The very subject forms the main theme of many of my articles.  But then I refined my reply with greater detail and continued. Actually, I continued. We are the standard.

Australian designers. The global measuring stick of excellence. Creativity. Innovation. Talent. Surprise. Genius. The Future.  We knock out incredible imaginative bespoke pieces year after year. Without fail.  And you could be forgiven for thinking, seemingly, effortlessly.

Of course, this does not happen in a vacuum.  There are many dedicated, passionate, hard-working professionals who drive these codes of excellence over the finish line, but it all starts with a dream doesn’t it?

The dream of fashion. The glamour. The imagination. The inspiration. The runway. The fabric.

The blood. Sweat. And tears.

It’s as though their young souls dance to the vibration of their fashion passion pulling them forward into their fashion future. Of course, we do want them to have a future … and a brilliant one at that. 

May I remind everyone who is reading this article to please ensure that the future of these emerging designers is secured.  You might be thinking, what does that mean? It is not enough to patronise these events and be enthused for one night.  We need to be enthusiastic about their entire careers and support them for the long term. We need to constantly educate ourselves and fundamentally understand the importance of buying Australian labels not to mention supporting the institutions who create the creative playground and educational programs which underpin the success of Australian fashion globally.

All sixteen of the graduates who showed their collections should be applauded, loudly. My goodness. I have lost track of how many shows I have had the pleasure of attending. It struck me however that there was an aliveness that night, a tangible feeling of electricity in the air, mainly of talent undiscovered.

I was gently taken back in my mind to years past, of designers which have very permanent places in my own memory. Stuart Membery, Alannah Hill and Kit Willow came to the forefront of my mind as the various collections floated by. I loved the recurring themes of fine see through silks, elaborate detailing, bold ruching and my favourite, the flared pants. The clever use and innovative combinations of leather, wool, silk knits, feathers, faux fur, sequins, motifs, 3-D digital printing, vinyl, and corsetry … superb! … a wild and fantastical journey into the minds of true creatives and visionaries. I can’t possibly write more without mentioning the return of the all famous patent leather.  Dear Lord. How can anyone live without it?

Of course, who else should captain this ship, but the illustrious Nicholas Huxley and Sophie Drysdale who need no introduction and have led many an acclaimed designer right to the top.

Is it any wonder that Australia stands front and centre of the global fashion landscape. Are we not totally blessed to be able to enjoy the spectacle of world class fashion design in our own beautiful backyard.

We do not hold up a standard.

We are. The. Standard.

There is not a country in the world who would argue that Australian designers lead the way.

Collection by collection. Each and every season. Each and every year.

Photography | Romualdo Nubla | Studio MOR

Meet Gillian Garde

I totally loved this collection by Gillian Garde. Her Norwegian heritage, and her collection Bloodline, “seeks to create timeless, luxury ready-to-wear”. I found this collection wearable, romantic, dreamy and fun. It is always inspiring when a collection evokes the imagination of an audience for a momentary space in time. In her words, “a nostalgic journey into the past seen through the lens of modernity”. Gillian Garde Instagram

Photography | Romualdo Nubla | Studio MOR

Meet Maddison O’Connell

Then there were the unforgettable whispers of the earlier collections of Camilla Franks brought to life by Maddison O’Connell with her collection Lalude the Label, a luxury resort wear brand with a distinctive bohemian spirit embodying complex folk-like craftsmanship. Her full bodied collection of swim and resort wear boasted the use of lace, sequins, knitted silk and fringing in a colourful and happy colour way of turquoise, pinks and pastels with middle eastern motif. Lalude The Label Instagram

Photography | Romualdo Nubla | Studio MOR

Meet Alixa Holcombe. 

Alixa The Label is described as one of urban sensibility through the hand work and detail to her high end womenswear.

I loved Alixa Holcombe’s use of tie-dying and her hooded cream jacket with the tree scape motif was one of my standouts.  One of the very important aspects to any collection in my opinion is the intrinsic commercial value and I felt that this collection really answered the call. Inspired by the Australian bush, her collection “Lost” explores wandering in the wilderness, the imaginary character, who becomes disorientated from exposure to the elements”.  Alixa Holcombe Instagram 

Photography | Romualdo Nubla | Studio MOR

Meet Victoria Scott.

ORIA was also a collection I felt to be extremely commercially viable. Her twist on the denim and white shirt look was refreshing and incredibly wearable.  I loved her use of see-through fabric and the checked coat dress was very cool. Her one-shoulder look was nicely done and I loved the return of the flared pant.  Her collection was strong, contemporary, flowed, and felt complete. ORIA Instagram

Photography | Romualdo Nubla | Studio MOR

Meet Lauren Anderson

Lauren Anderson “focused on the social and cultural philosophies of historical and modern Japan. The ultra-feminine Harajuku style, which celebrates the youth’s non-conformity to a restrictive present day culture” was unforgettable in candy pink. It was fun, quirky and eclectic. Lauren Anderson Instagram

 

Photography | Romualdo Nubla | Studio MOR

Fashion Design Studio Graduate Collection 2017 Gallery

Photography | Romualdo Nubla | Studio MOR

Photography | Romualdo Nubla | Studio MOR

Photography | Romualdo Nubla | Studio MOR

Photography | Romualdo Nubla | Studio MOR

Photography | Romualdo Nubla | Studio MOR

Photography | Romualdo Nubla | Studio MOR

I apologise to any of the young graduates from Fashion Design Studio who are not included here.  Time permits me from mentioning everyone.

Until next year … keep on dreaming!

The tide of appreciation and dedication to your growth and success in the Australian and global fashion industries is turning.

Until next time.

Jade x

Australian Fashion Industry, Editorial, Photography, Styling

Karlstrom Creatives

November 8
Picture of a girl in black and white with large round sunglasses and long brown hair.
Model with blue hair standing in colourful skirt and top with high heeled white shoes for a campaign shoot.

Karlstrom Creatives | Photography | Peter Karlstrom | Stylist | Leigh Karlstrom

 

 

The passion and love comes from creating something that is yours. We see what we do as a story and the characters just come to life.

Petter Karlstrom

 

One of my most favourite topics within the realm of Australian fashion is the creative team. We often take for granted the contribution that these teams make to the success of independent designers, important events, and the general gorgeous hype that our industry rocks. No other creative team is more deserving of this kudos which is the topic of my latest editorial.

Who are they? Karlstrom Creatives.

I absolutely love the work of Petter and Leigh Karlstrom.

They have reached, what I consider to be, the pinnacle of creative prowess.

Petter and Leigh Karlstrom are the dynamic duo. Quite literally. Petter is the photographer,  Leigh the stylist.

I first discovered their work when I interviewed the amazing Chisato Chris Arai, another creative genius. Definitely one of Australia’s most coveted makeup artists. If you have not discovered Chris Arai yet, do yourself the pleasure of checking out her work. Just navigate through the menu to her article. Truly inspiring.

But back to the Karlstrom duo. Their work is fresh, inspiring, different, engaging, and pure creativity. It is the epitome of imagination and fantasy, and I love it!

I can’t sing the praises of these people enough. I know, I know. You think I say that about everyone I interview. Well I do try to sing everybody’s praises. That’s true. But it is never undeserved, as I am blessed to be granted interviews with the very coolest of people!

Every now and again, you come across people and talent that is truly special. And this article is about these human gemstones.

Petter told me, “the streets inspire us. Characters and spaces. I usually get an idea from being at a cool location and then the rest just comes naturally”.

Continue Reading…

Australian Fashion Industry, Editorial, Fashion Designer, Global Fashion Industry, Interview

Frederick Jenkyn

September 26
Model | Kelly Hockey Place | London Designer | Frederick Jenkyn Photographer | Chris Fatseas

Frederick Jenkyn, Australian Fashion Designer, TAFE Ultimo. The Innovators.

As all of my devoted followers already know, earlier this year, I had the pleasure of perusing on mass, the breathtaking young smorgasbord of talent that Australia serves up each and every year at Mercedes Benz Fashion Week. After the week long event, which is the highlight of the years for all Australian fashion devotees, I methodically work my way through the incredible mix of entrepreneurial youth, offering them the opportunity to publish an affordable and effective public relations interview to promote their names and their emerging brands.

Frederick Jenkyns collection was outstanding. I met him the very day of the unveiling of his collection, but am bringing you this interview after corresponding with him in London, his new place of residence.

As I am sure you are aware, and if you are not, please consider this.

Our emerging designers are quite literally our fashion future.  They represent the group of people who will lead us strongly, both locally and internationally, in the ethical and sustainable production of our beloved fashion industry. Young people such as Frederick will most likely be the names behind your choice of dressing and the other interiors of our design lives for decades to come. It is essential that we support them, read about them, buy their product and offer them our gratitude and encouragement.

Please remember to share  the love.

Australian fashion is depending on you …

 

Meet Frederick Jenkyn.

In five years? I want to have my own studio with pattern makers/design assistants. A machinist and a social media/online manager.

Rolls and rolls of fabrics and a stock room filled to the brim.

I would like to think I’ll be complaining about needing more space. But then I will think, I need to pay for the embroidery for next season so it’s not a good time to upgrade.

I will only wear black. In case someone visits the studio and I won’t look a mess.

And in the bottom draw of my desk, that looks like a filing draw, I’ll keep some throw rugs for the “before show” all-nighters.

Frederick Jenkyn

 

Model Kelly Hockey modelling in London for Frederick Jenkyn. Photographer Chris Fatseas.

Here is Frederick Jenkyn’s story so far …

Frederick Jenkyn as a brand emphasises wearable innovation through unconventional textiles and hand crafted detailing traversing the borderline between couture extravagance and everyday wearability.

Frederick Jenkyn

 

Continue Reading…

Australian Fashion Industry, Editorial, Fashion Designer, Interview, MBFWA

Jason Hewitt – Next Generation

May 26
SYDNEY, AUSTRALIA - MAY 20: A model walks the runway in a design by Jason Hewitt at the St.George Project NextGen show at Mercedes-Benz Fashion Week Resort 17 Collections at Carriageworks on May 20, 2016 in Sydney, Australia. (Photo by Stefan Gosatti/Getty Images)

Last week, I attended Mercedes Benz Fashion Week for the whole glorious week!

It is my most favourite week of the year.

Industry professionals line up eagerly each and every year to view the current landscape of Australian fashion and the ever increasing talent of the emerging designer market.

As always, I am there to champion, encourage, and cover editorially, the high stakes game of Australian fashion. The designers, established and emerging, and their often forgotten, phenomenal creative teams.

It was a great privilege to see these very talented individuals forging ahead in the Australian fashion scene and I can only hope that it continues with great vigour.

“Project NextGen is an initiative that is intended to provide a platform to discover and support emerging Australian fashion designers. By connecting these gifted individuals with an experienced panel of industry insiders, the program mentors Australian talent to help them hone a broad range of skills and elevate their profile through industry connections and ongoing business support”. 

The winners this year were Anna Quan, Holystone (Renee Sealey), Jason Hewitt, Kaliver (Roni Cross), Monster Alphabets (Sarah Ryoko Watanbe), and Third Form (Merryn Kelly).  Judged by the following panel, Edwina McCann (Editor-In-Chief Vogue Australia, Kellie Hush (Editor-In-Chief Harper’s Bazaar Australia), Justin O’Shea (Buying Director mytheresa.com), Emily Weight (Director Fashion IMG Australia), Eva Galambos (Director & Buyer Parlour X), Chris Buchanan (GM Ellery), Donna Player (Merchandise Director David Jones), and Kelly Francis (Fashion Director MADE), we now find ourselves watching the final product. Project NextGen 2016.

Jason Hewitt showed his Resort 17 Collection.

 

Get out of H&M and Topshop and Forever New, and all that crap. It’s bad for the environment and it’s bad for you. Ultimately it won’t satisfy. Start buying quality, and curate a wardrobe of things you cherish.

That. Is. Style.

Jason Hewitt

 

SYDNEY, AUSTRALIA - MAY 20: A model walks the runway in a design by Jason Hewitt at the St.George Project NextGen show at Mercedes-Benz Fashion Week Resort 17 Collections at Carriageworks on May 20, 2016 in Sydney, Australia. (Photo by Stefan Gosatti/Getty Images)

Jason Hewitt Resort 17 Collection | Photographer | Stefan Gosatti | Getty Images

LM

What is the philosophy behind your label?

JH

It’s two fold.

Firstly, Every aspect of your business should be as sustainable and ethical as possible and should not define one as a designer.

Secondly, I enjoy creating pieces that I am proud of and which resonate with people.

LM

What is the inspiration behind your label?

JH

Depends really, it’s so varied. I’m inspired by life, but that sounds a bit new-age-hippy for me. I like contemporary art, culture, reading. I was looking at an interview with JW Anderson recently where he said he wants Loewe to come from a place of culture – I think I agree with that. I’m so fascinated by different cultures, and how they’re presented and old traditions are updated. I think that’s what drives a lot of the things I’m interested in.

SYDNEY, AUSTRALIA - MAY 20: A model walks the runway in a design by Jason Hewitt at the St.George Project NextGen show at Mercedes-Benz Fashion Week Resort 17 Collections at Carriageworks on May 20, 2016 in Sydney, Australia. (Photo by Stefan Gosatti/Getty Images)

Jason Hewitt Resort 17 Collection | Photographer | Stefan Gosatti | Getty Images

LM

What do you think of today’s street fashion?

JH

There’s not really much to think. People should wear what they feel good in. It’s not really my place to have an opinion on it (I dress like an absolute slob most of the time) but I do sometimes take inspiration from the way people put things together.

The street fashion thing feels a bit like an Oroborous these days. Trends are taken from the street and then fed back, like a closed loop. I don’t know if that’s going to generate anything new in terms of design so I do wonder if street fashion isn’t just becoming rather watered down … Normcore, a trend so boring it didn’t need to be named.

LM

Lol!  (Normcore is a unisex fashion trend characterized by unpretentious, average-looking clothing).
LM

What advice would you give to aspiring fashion designers?

JH

Learn how to make clothes, properly, before you start designing them. Take your inspiration from anywhere, but avoid looking at other designers unless it’s for a historical point of reference or a preferred silhouette. Look at other designers work from a construction point of view not design. Go to museums, read books, get off your phone, close your computer and take it all in. The internet is a great resource but it’s not the same as the real thing.

Continue Reading…

Australian Fashion Industry, Editorial, Photography, Styling

Colouring In

April 6

 

If you put something together and it doesn’t look so good, the fashion police are not going to come take you away. And if they do, you might have some fun in jail.

Iris Apfel

 

The wonderful American Style Queen, Iris Apfel, commenting on how women combine the elements of good dressing …

well, after all, Iris should know …

 

Picture of the American fashion icon and style influencer, Iris Apfel.

 

 

Who better than Iris to show us all how to put the ultimate in fashion craziness together with some other garments which equals perfection?

Our current world is so homogenised in every way. And the way we dress has become a victim to it. Whatever happened to wearing crazy colours, either on their own, or together?  I have styled many people over the years who have been afraid to wear colour. Want to add colour to your wardrobe? Here’s how.

Remember that colour does not have to be always worn near the face.  It can be introduced into an outfit with colourful shoes or a handbag.

Wear colours that make you feel good and remember that as we age, hair colour and skin tone changes. Revise your colour choices often. Finding confidence in this ability is how we all secure a connection with our own confidence and creates our sense of wellbeing. Be prepared to take a “fresh look” at yourself and reassess how you can improve your image.  If you’re not comfortable wearing colourful garments introduce colours through nail varnish, lipstick or your hair!

 

Model with blue hair standing in colourful skirt and top with high heeled white shoes for a campaign shoot.

Photography & Styling | Karlstrom Creatives

 

Colour does not have to take the form of block colour. Sometimes we look better in plain colours or colours that are infused within a pattern.

If you prefer to wear plain, block colours because you feel they suit you better, try introducing patterns and interesting prints through cute shoes and handbags.  Another idea is the simple layering of colour underneath another block colour, such as white or black. I like to call it ‘colour referencing’.

Remember, all you are trying to achieve is a “joining of the dots” effect – a visual reference of design and colour, continuity and harmony.

Colourful tops, and even tops with a blend of more muted colours, can look great underneath plain understated jackets.

 

turquoise

 

An outfit of block colours works a treat with a gorgeous pair of leopard print ballet flats and a stylish Gucci handbag! Things do not necessarily have to match but there does need to be a marriage of harmonious elements and colour tone. Tonally they work together and there is enough visual space between the two items to make the combination work. The natural balance of the outfit then becomes effortless and an understated elegance of good quality and taste becomes the highlighted theme.

All beautifully constructed outfits and exceptional dressing comes down to the combination of colour and texture, and the ability to achieve the all-important balance of proportion.

It is always a good idea to be generally aware of what is trending, not because your individual style depends on this, but because it allows you to have a choice of product in every season to add different elements of value to your wardrobe.

 

Picture of a girls face with clear round plastic sunglasses in a 1950's style showing the reflection of the surrounds in the lenses with bright red lipstick.

Photography & Styling | Karlstrom Creatives

 

 

If you wear black or grey, wear colour that compliments your main palette. Try to move outside of the normal combination. For instance, lime green and acid yellow are exceptionally beautiful with black. Gerbra pink is divine with charcoal.

If you are teaming these items with jeans or casual trousers, bring the reference of colour from the top of your body (ie. lime green top), down to the feet with gorgeous flats in a tonally appropriate colour, or paint your toe nails in a tonally balanced shade in open-toed heels.

Introduce visual depth and weight and experiment with colour, tone and texture.

Adhering to these general rules will mean that you achieve a lovely balance in your wardrobe that you will be pleased to visit every day!

Until next time,

Jade xx

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Australian Fashion Industry, Fashion Designer, Interview, Melbourne Fashion Festival

Lois Hazel

March 10

 

With a philosophy grounded in a desire to create timeless pieces of quality, texture and intricacy, Lois Hazel, aims to bring honest pieces with a unique touch to her customers.

 

Model standing on Sorrento Beach in blue wide leg pants with a white top with shoe string straps with bare feet with the headland behind her.

Model | Sarah Baxter | Photographer | Kim Mennen | HMUA | Emma Gillett

 

Lois Hazel graduated from RMIT’s Bachelor of Design in Fashion with first class honours in 2012. She then left Australia to work for the New York design house, Marchesa, and Iris van Herpen in Amsterdam. Lois returned to Australia, and her home town Melbourne in 2014. She launched her first capsule accessories range, and then her debut collection “Frayed” in 2015. She is passionate about ethical and sustainable practices, and hopes to bring positive change to the fashion industry by donating five percent of her profits to One Girl Australia.

LM

How would you describe your label?

LH

Timeless, textural pieces with unique detailing.

LM

I believe you find inspiration in “subversive art”. What does this mean for your garments and your collection as a whole.

LH

I think for me it helps me build my collections around a concept. Starting with a  point of interest such as pleating, a certain texture or maybe even just a point of inspiration taken from the world around me.  I feel I am able to really push my boundaries as a designer and come up with something unique and original.

Model wearing Lois Hazel. Long maxi skirt, cream skirt with frill hem detail over the long skirt, blue sleeveless top with frill peplum and navy three quarter length jacket with wide lapel.

Model | Sarah Baxter | Photographer | Kim Mennen | HMUA | Emma Gillett

LM

Do you believe that fashion and art belong together on the runway?

LH

Definitely, I feel the runway gives designers a platform where they get to create a world.  To show their pieces in complete fullness and how they were envisioned. It gives us a way to draw our audiences in and let them see into our world.

LM

I believed you have worked with Marchesa, Iris Van Herpen, Marianne Kemp and ByBorre. Was there a common thread of inspiration that developed your fashion ethos?

LH

I wouldn’t say there was a common thread, but rather through each of these experiences I discovered more and more about who I am as a designer. Every single one of these designers and artists let me see how they worked. I was able to discover so many different techniques and systems. I found ways to do things and also found ways to do things that in theory shouldn’t be done.  From everything I learnt I was able to create a practice that worked well in and that I was proud of.

LM

Describe your time and experience at the Paris American Academy.

LH

My time in Paris was truly magical. It is such an incredible city and to be able to study there was amazing. I was able to learn from people who had worked for one of my idols, Madame Gres, and learned to appreciate what couture has brought us in fashion.

Relating back to the question about art and fashion, I feel my time in Paris really let me appreciate the art that has gone into and still goes into fashion.

I do believe fashion is a form of art, especially when you truly take the time to appreciate the aspects of design, construction and even the mathematics involved.

Model wearing Lois Hazel in a beach setting with honeycomb caves behind her in a loose fitting v neck top with matching skirt.

Model | Sarah Baxter | Photographer | Kim Mennen | HMUA | Emma Gillett

LM

What do you love about the Australia fashion industry?

LH

One thing I really admire is the community we have here. I am very lucky to be surrounded by such a creative community  where so many are willing to help and share ideas with each other. Helping each other out is extremely important.  Being invited to show at this years Virgin Australia Fashion Festival as part of the Discovery Runway indicates the support Victoria has for young designers.

LM

What do you feel we could do better?

LH

By bringing more production and manufacturing back to Australia. I would love to be able to contact industrial weavers from Coburg, or work with local milling companies.

I remember when I was living in Amsterdam I caught a train to the Tilburg Textile museum. I received the opportunity to learn how to weave my own fabric, and how to use knitting mills and other incredible machinery. During my time in New York I was blessed to learn about pleating, beading, fabric dyeing, as well as enjoying the broad choice of available fabrics.

LM

Do you feel that the Australian consumer could better support emerging designers?

LH

It’s always hard with new labels, as people don’t really know much about them.

Obviously I would love everyone to support emerging designers and buy our stuff straight away.

But I do understand it is essential to build trust and a good rapport with consumers.

In saying that though we are lucky to have individuals like yourself.

LM

Thanks Lois! Glad you appreciate my work!!! Very sweet! 

For everyone who would like to support emerging designers, follow Label Ministry!

Other people who support the emerging market are, The Fashion Journey, Broadsheet, and other publications who are helping us get our names out there.

 

Model standing on Sorrento Beach in blue wide leg pants with a blue top with peplum flare design with bare feet with the headland behind her.

Model | Sarah Baxter | Photographer | Kim Mennen | HMUA | Emma Gillett

LM

What does Melbourne mean for you?

LH

My Home. I really love Melbourne, it is a beautiful city and has a lot to offer. I feel very lucky to live here and have it as my base.

LM

Your designs have a freshness and an innocence to them. Have you deliberately designed your collection in this way?

LH

I wouldn’t say I have. For me I let my designs just happen. It’s always very free at the beginning and then once I have a concept in mind I just go with it and see where it ends up. I don’t have a set direction that I want to take my collections in but rather just see where they take me. Maybe that sense of natural wondering brings this innocence and freshness about.

They slowly evolve out of a random thought, an image, a beautiful textile or a moment of clarity.

LM

Where do you source your fabrics?

LH

I mainly source my fabrics from a New Zealand company called Wall Fabrics who have an office in Melbourne.  I was also lucky to find an incredible fabric store in Bali last year. It was there that I found a lot of the silks seen in “LINEAR”.  I hope one day to go back and find some more of these beauties! One day I hope to be able to create my own textiles working alongside world renowned weavers.

 

Model wearing Lois Hazel in a beach setting with honeycomb caves behind her in a loose fitting v neck dress with frill hemline.

Model | Sarah Baxter | Photographer | Kim Mennen | HMUA | Emma Gillett

LM

What is your opinion on ethical and sustainable fashion?

LH

I think it is extremely important, and I am happy that it has become an important topic for discussion. As a designer I have a responsibility to look after all my contacts. Fashion is such a powerful and influential industry. If any of us were to disregard the impact it has on us environmentally and socially we would bring much harm to the world around us.

Ethical and sustainable fashion practices are a necessary discussion for both individuals within the industry and consumers.

LM

Where are you garments made?

LH

I am proud to say that all Lois Hazel garments are made here in Melbourne. I am lucky to work with a variety of different companies as well as have the time to produce a number of styles in house here in Fitzroy.

LM

Who is the Lois Hazel women?

LH

I like to see her as fun, and wanting to invest in her wardrobe. She is aware of the world around her, and takes interest in the effect her choices have.

Model at Sorrento beach standing barefoot on the sand wearing a Lois Hazel cream skirt and cream top with shoe string straps.

Model | Sarah Baxter | Photographer | Kim Mennen | HMUA | Emma Gillett

LM

What defines the Lois Hazel label?

LH

I would say a desire to create timeless pieces with unique detailing that were developed and produced in a sustainable and ethical manner.

LM

Do you believe that Australian women dress well?

LH

I do, and I love how here in Melbourne you see so many different styles.

LM

If you could bring about any particular changes within the Australian fashion industry, what would they be?

LH

Bring more production back to Australia. Not only in manufacturing but also in fabric production, dyeing, and weaving.

We have so much potential, talent and live in such a unique land.

The back view of model standing on Sorrento Beach in blue wide leg pants with a white top with shoe string straps with bare feet with the headland behind her.

Model | Sarah Baxter | Photographer | Kim Mennen | HMUA | Emma Gillett

LM

What is your view of fashion collaborations?

LH

I think they are great! There are so many people out there with different views and talent! Being able to work together really allows for things to mature and evolve.

LM

What do you see as the future of the Australia fashion industry?

LH

I see consumers becoming proud to wear Australian made goods!

I also hope to see the recognition of more of our talent around the world.

We are lucky to have individuals like Ellery, Zimmerman and Maticevski paving the way.

LM

Who are your favourite international designers and why?

LH

I wouldn’t say I have a solid favourite, but I admire the works of a number of different designers. I love the couture collections from fashion houses such as Dior, Chanel and Valentino. Their work is inspirational.

LM

Do you see yourself as expanding to overseas markets?

LH

I do, and I hope that this year I’ll be able to start the journey.

Studio shot of the back view of model Dijok Mai standing in a black Lois Hazel jacket.

Photographer | Anthony Tosello | Stylist | Julia Sarteschi | HMUA | Brooke Pearson | Creative Direction | Violette Snow

LM

Do you think raising the awareness of the Australian consumer would help to ease the difficulties of being an emerging designer?

LH

Definitely. Consumers are what really run this industry. Their support of emerging designers would go a long way to helping us achieve more faster and easing the pressure we feel in the early years.

LM

If you could suggest ways to support emerging designers as a whole, what would they be?

LH

I think making the time to go to events like the Discovery Runway or keeping an eye out in the Fashion Journal for us, and any blogs that focus on introducing emerging designers to the public.

LM

Yes! Yes! and Yes!  Bring it on!

LM

What is your view of social media. Do you see it as mostly positive?

LH

I think it is great! Especially Instagram which has already brought me so many great opportunities and linked me up with a variety of different people.

As a emerging designer my budget is limited for marketing, so having a platform like Twitter, Instagram and Facebook is wonderful.

 

Studio shot of model Dijok Mai sitting on a white stool modelling Lois Hazel, wearing blue wide pant and white top with shoe string straps, flat white sandals with black elastic detail.

Photographer | Anthony Tosello | Stylist | Julia Sarteschi | HMUA | Brooke Pearson | Creative Direction | Violette Snow

LM

What is your opinion of people who describe the fashion industry as fake?

LH

I love the fashion industry, but unfortunately it does have its ‘fake’ moments. Only a small percentage of those involved really get the credit they deserve. I really want to make sure that in my practice people get the credit they deserve. I want to show my consumers not only where everything is made, but also that they can see it is a team effort.

LM

How do you feel about fast fashion, and the impact it has on a label such as yours?

LH

My hope for fast fashion is to see it become more sustainable and ethical.

Obviously it does make it harder for me when something can be offered at a more affordable price, but I feel as an emerging designer I have the opportunity to do things differently and create a uniquely diversified product.

LM

So my lovelies, the next time you’re thinking of buying something, check out Lois Hazel.

Accreditations:

Photographers | Anthony Tosello | Kim Mennen | Kristy Milliken

Stylist | Julia Sarteschi

HMUA | Brooke Pearson | Emma Gillett

Creative Direction | Violette Snow

Models | Dijok H. Mai | Sarah Baxter | Georgia Asapwell | Madeleine Rose Tudor

Other:

Hessian Magazine

Folk Collective

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Jade xx

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Editorial, Eyeball Tattooing, Photography, Tattoos

Generation Inked

February 25
Girl lying on a bed wearing a bra but covered in tattoos.

 

But what has caused this great herd of humanity to suddenly veer off and have a red-hot branding iron seared onto their arses?

Greg Bearup

 

Girl smiling looking at the camera with her arm folded in front of her face with a tattoo on her arm of two hands holding a picture. So it looks like she is taking a picture of her arm.

 

Inked. Yep. It looks like tattoos are here to stay. Or so it seems.

When the day arrives and tattoos are no longer fashionable, I guess we might see a lot of people heading to the place that removes tattoos. Whatever that place is.

Cosmetic surgeons or beauty salons with laser machines? Or maybe people will go back to the tattoo parlour they went to in the first place. If I was enterprising in a different kind of way, I would be thinking about opening up a tattoo removal shop, because if my predictions are anything to go by, I reckon the tattoo removalists are going to get busy. Really busy.

How long can tattoos remain on trend? We’ve been looking at them for a long time now. The eastern influence of yin/yang and the Asian symbols became popular with people travelling through South East Asia. The colourful sleeves of full bodied, big bottomed, busty, scantily clad girls on Harley’s in full colour. Red and blue flames rising up the back of people’s calves, and birds on women’s feet carefully placed in such a way that suit their Haviannas are now common place all over Sydney and indeed all Australian cities. How about the long verses of text up the inside of arms, (Angelinga Jolie style), or across the back of the neck. When I see people with these kinds of tattoos I feel compelled to stop them and say “look, if you are going to sport that tattoo, as least pay me the courtesy of not racing past me. I would like to read what it says, and at the same time ask you what on earth possessed you to paint essentially, what I would have just written in my journal, all over your body? Of course I don’t do that. I hope I don’t sound patronising, because I am genuinely interested in people’s motivation for getting a tattoo. Whatever it is, and however many. I respect their decision to have one or ten, but I have to be honest and say the widespread prevalence of them is now causing me irritation.

It’s not because I don’t like tattoos. I actually find them quite artistic and interesting. I don’t happen to have one myself, although I have thought about getting one in the distant past. Had I decided to get one, it would have been very small and most definitely hidden away from the public eye. My lack of tolerance for them now is because they just seem to be everywhere. And I mean everywhere, and on nearly every body. At least that is how it appears. I don’t go anywhere anymore that I don’t see them on literally every second person and consequently they now seem so… overdone. Furthermore, it seems to me that the tattoo wearers choice of fashion has also been forever changed. When I find myself in shopping malls or city streets, I am reminded that a significant part of the population seems to have forsaken their choice of wearing a full coverage of clothing, in order to show off their body art. There is a sea of skin showing out there, open tanks on men and women, the shortest of short shorts, midriff and crop tops, low slung trousers, and super short minis.

It’s increasingly common to see multiple tattoos. Arms, legs, necks, stomachs, torso, shoulders and backs. The other day I even saw someone with tattoos on each eyelid and also each ear. I mean really. Doesn’t that constitute some sort of health risk? I guess there isn’t a law against stupidity. I wonder what these tattoos will look like when the person ages a little and their skin is no longer taut and youthful. What happens to the man with the tattoos on his eyelids when he gets a little older and his eyes follow suit. I sincerely wonder what we will see in the future when some of these tattoos are removed, and what then? Will people then be covering the previous areas of their tattooed skin because they are sporting a scar? Will they regret their decision of deciding upon tattoos all those years earlier? Very probably. I hear that the current cost for tattoo removal is around $350 per session and usually takes around 8-10 sessions. That’s a lot of money for something that may have only cost a couple of hundred dollars at the time, and you could hardly call it an investment. Well maybe an investment in looking like you used to.

 

 

And now we have the legalisation this week for the allowance of eye-ball tattooing. This really has raised the bar in terms of permanent body work, and seems to me to add a completely different dimension, which is humans looking more and more unhuman. According to the article published in The Sydney Morning Herald, eyeball tattooing can lead to infection and blindness.

Greg Bearup, is a writer for The Weekend Australian Magazine. In 2013, he interviewed veteran tattooist Tony Cohen from The Illustrated Man, the most iconic tattoo parlour in Sydney. He says that he “keeps waiting for the tattoo bubble to burst, but it just keeps getting bigger, more colourful, more lurid. Australians are getting inked at a phenomenal rate – skin specialists I contacted say that 10-20 per cent of their patients have one or more tattoos”.

Based on what I see most days, I would have thought that number to be somewhat higher. I have been wondering for some time when this trend might slow down but it stands strong. It occurs to me that this is in fact no longer a trend but something of a prolific societal statement. But why? Why do so many feel the need to get a tattoo, when really it is no longer a unique thing to do. It seems Greg Bearup was thinking along the same lines when he asked the following question. “But what has caused this great herd of humanity to suddenly veer off and have a red-hot branding iron seared onto their arses? It is a yearning for belonging, according to Adam Geczy, an artist and academic at Sydney College of the Arts, who has studied tattoo culture. Traditionally, tattoos were a marker of initiation into a tribal society or a sect, like the Yakuza, or the mark of a man of the sea. “We are now living in a culture where people don’t know where they belong,” he muses. “Generations X, Y and Z are constantly in contact on Facebook and Twitter, thinking it is a community, but it is a void. If you go out and choose a Maori tattoo you have the luxury, and the shallowness, of initiating yourself. You are not being initiated into a clan, you are initiating yourself into yourself. You are giving yourself a kind of fetishised sense of belonging.”

 

Woman sitting on a bed naked with her back covered in tattooes.

 

Geczy says the great growth in the number of people being tattooed, particularly women is also part of the pornification of society, which has come with the internet age. He argues there is a strong link between body modification and porn. “So you have a prim girl who has a small rose on her shoulder – it’s a wink to say, ‘I have desires’.” He continues: “Look, most people work in pretty boring jobs and have a problem with being interesting and having interesting identities.” They see a tattoo as a way of making them seem more interesting. But it is all built on a false premise, he argues, and in time many people who have tattoos will live to regret their decisions. “Besides, it all looks hot when you are young but when you’re an old man you look like an ageing stud.” And, he ventures boldly, “There has never been, on a woman who is middle-aged, a tattoo that looked any good.”

Read the article here.

Well go Adam. Can’t say I disagree with the man.

“The Pornification of Society”? Hmmm. He might just be on to something there.

Until next time.

Jade x

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Commentary

Generation Inked

February 8

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Featured Image: Full-body tattoo byMohamed El Dahshan. Photo from Flickr.

Inked. Yep. It looks like tattoos are here to stay. Or so it seems.

When the day arrives and tattoos are no longer fashionable, there will be a sea of people and I mean, a sea of people, heading to … well, the place that removes tattoos. Whatever that place is. Cosmetic surgeons or beauty salons with laser machines? Or maybe people will go back to the tattoo parlour they went to in the first place. If I was enterprising in a different kind of way, I would be thinking about opening up a tattoo removal shop, because if my predictions are anything to go by, I reckon the tattoo removalists are going to get busy. Really busy.

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