Editorial Archives – Page 5 of 5 – Label MinistryLabel Ministry

Australian Fashion Industry, Editorial, Melbourne Fashion Festival, VAMFF

VAMFF Melbourne 2016

March 16

Models promoting the Virgin Australia Melbourne Fashion Festival 2016.

Well. Here I am in Melbourne. March 2016. VAMFF. Virgin Australia Melbourne Fashion Festival. It’s been a hell of a week for a few different reasons. Travelling interstate for a week of fashion frenzy is, for any seasoned fashionista, and I guess I could call myself that, a hard slog. The “four seasons in one day” Melbourne weather took us from an unprecedented heat wave at the beginning of the week to full on rain a few days later. A pleasant but unexpected development. But! I have to say … well done Melbourne! What a great week. I moved gallantly through the week, albeit with moments of exhaustion, with equal doses of sheer determination and pure adrenalin. I have attended eight events, with some more to come, the last of which was Discovery Runway. I love the established designers, and I truly feel that nobody could love designer clothing and our amazing home grown designers more than I do. (I mean, really, who writes about this subject more than I do!) However, anyone that knows me well will know that the support and nurturing of emerging designers and their creative teams is where my true passion lies.

Anyway, back to VAMFF. Tonights Discovery Runway was a selection of eight Melbourne emerging designers who were invited to showcase their collections in the foyer of the Melbourne Museum, the new home of VAMFF. Four of tonight’s emerging designers have recently been showcased by Label Ministry as a vehicle of support and an offering of virtual love!

ASSK, Article. by Courtney Holm, Amxander & Lois Hazel stood out for me tonight, of course, as I have been pouring over their interviews and collections for weeks now. Not only that, I have developed a rapport with these designers and have read with interest and affection their perspective on the world we live in, and their representation of it through the creation of their fashion labels. It is always an honour for me to interview these designers, as for the most part, they are grateful, respectful, and genuinely humble in their quest for support. They speak with honesty and transparency about the struggles of being an emerging fashion designer, where larger egos, and unsympathetic ears are often the mainstay of their business interactions. They share their hopes and dreams, the stories of their educational journeys, and how they aspire to design in the same vein and success as their industry icons.

I hope my voice, both in the literal sense of the word and in the form of my editorials brings them the kind of support which is so desperately needed for their guaranteed success. It is extremely heartening to me to hear of their gratitude, and be on the receiving end of their heartfelt thanks.

The love of their trade, their genuine concern for the future of our planet, and their continued efforts to shape a world in which we can all co-exist touches something deep inside me. Draping ourselves in beautiful fabrics, and accessorising ourselves in ethical and sustainable product because of the efforts these young people is something I feel immensely proud to be part of.

I hope that my work becomes their very own public relations voice.

One that is loud. One that is heard. One that makes the difference.

To everyone who participated in the Discovery Runway tonight.

All Hail …

I had the pleasure of interviewing some of them …

ASSK

ASSK is an anagram of the designers initials. Sarah Schofield and Agatha Kowalewski. The girls have been living in Paris working in the fashion industry for a few years. Sarah was working at Louis Vuitton, and Agatha was working as a stylist when they started ASSK in 2013. Their business and studio are based there and they have press offices in Paris and in NY.

Both girls are originally from Australia, and Melbourne especially has remained really important to ASSK.

They sell through Distal Phalanx in Melbourne, and have a really strong base there.

Their label has been heavily influenced by technology and internet culture.

The internet has always played a big part in the ASSK brand. Agatha and Sarah first connected on the internet and worked with Melbourne artist Oliver van der Lugt over the internet for two years before they met.

Their first four collections were sold via the internet over look books to people they didn’t know. In places they had never visited.

This interconnectivity through technology has been very important to them.

Label Ministry recently interviewed ASSK.

LOIS HAZEL

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.

She loves the fashion industry, but unfortunately feels that it does have its ‘fake’ moments. She says “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”.

Label Ministry recently interviewed Lois Hazel.

AMXANDER

Model standing in front of a red wall dressed completely in black but wearing a donkey brown jacket with hoodie.

Amxander. Spring/Summer 2015

I have always been a fan of designers who tackle the menswear side of things. I feel that menswear is a part of the market, particularly in the emerging sector, which has been, and still is, under represented, at least by local designers. Talent like this, I haven’t seen for some time. It’s wonderful to think that the dressing of the modern man is being catered for so beautifully. The main thing I love about this label is just simply it’s wearability. No fuss, manly, well tailored, nicely detailed, tasteful and well, I think pretty close to perfect.

It is a privilege for me to be able to write with such genuine enthusiasm about the talent of these young, upcoming, positive, talented, gracious, emerging designers. It is the red passion which fills my veins.

I just had to ask Mr Amxander himself, the questions that were burning a hole in my fashion week head.

Meet Amxander by Label Ministry.

ARTICLE. BY COURTNEY HOLM

Courtney graduated with First Class Honours from the University of Technology Sydney and her debut at L’Oréal Melbourne Fashion Festival in 2013 led her to re-locate to Melbourne. It’s not hard to see why I loved interviewing Courtney, a young, dynamic, talented designer, who seems to have boundless energy. Not only is she putting a collection on the runway at VAMFF in a couple of days, she also got married a couple of weeks ago. And I thought I was busy!

She is described by NJAL (Not Just A Label) as “the designer and director of sports-luxe Australian menswear label”, and that her “label is distinct for its assimilation of pop-culture street styling, elemental sportswear and tailoring details”, which is “designed and hand produced in Melbourne, injecting a fresh equilibrium of functional, high-end fashion into a niche menswear market”. And, “her use of varied materials, such as polyurethane plastics, luxury knits, sportswear and hard-wearing materials with quality cottons, silks and wool give each piece inner softness with an overriding masculine exterior. The amalgamation of high fashion detailing with sportswear and street style makes a bold statement while the prevalence of functionality, style and fit ensure a wearable outcome for a discerning customer”.

Article. by Courtney Holm. The interview by Label Ministry.

Until next time,

Jade xx

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.

How would you describe your label?

Timeless, textural pieces with unique detailing.

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

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.

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

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.

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?

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.

Describe your time and experience at the Paris American Academy.

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.

What do you love about the Australia fashion industry?

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.

What do you feel we could do better?

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.

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

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.

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.

What does Melbourne mean for you?

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.

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

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.

Where do you source your fabrics?

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.

What is your opinion on ethical and sustainable fashion?

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.

Where are you garments made?

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.

Who is the Lois Hazel women?

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.

What defines the Lois Hazel label?

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

Do you believe that Australian women dress well?

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

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

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.

What is your view of fashion collaborations?

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.

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

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.

Who are your favourite international designers and why?

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.

Do you see yourself as expanding to overseas markets?

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.

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

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.

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

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.

Yes! Yes! and Yes! Bring it on!

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

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.

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

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.

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

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.

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:

Until next time,

Jade xx

Australian Fashion Industry, Interview, Melbourne Fashion Festival, Men

Article. by Courtney Holm

March 9

Model standing in a area of earth moving soil in casual sports luxe attire.

I have been talking recently about the rising talent of some emerging menswear designers in Australia. They are the new breed of emerging talent, and I feel the shift of greatness realigning our current industry. At least as we know it. It feels like I have stepped on a veritable goldmine of dynamic, enthusiastic, talented, passionate and downright savvy artists who have decided that the business of dressing men, needs … well, addressing.

Quite literally.

And how lucky are we that they seem to sitting right in our backyard.

Downunder.

Melbourne actually.

Ready for the upcoming fashion festival in Melbourne, VAMFF.

The spotlight for this article, is Courtney Holm. The name behind the label known quite simply as Article.bch.

Perhaps I should start this piece by sharing what I thought was a wonderful piece of her wisdom.

Support other brands by being a nice human and treating your fellow colleagues with respect, share contacts with them and collaborate.

I firmly believe in supporting local industries. As long as we have a Melbourne manufacturing industry and I am a part of the Melbourne community, I will support it.

Firstly, I LOVE your menswear label. What inspired you to design for men?

ABCH

Thanks Jade. I started the menswear journey at university. I was studying fashion design at UTS which is primarily targeted at teaching womenswear design. In my third year we did a menswear subject and everything kind of fell into place. I’d been struggling to find any satisfaction in womenswear design, but as soon as I began designing clothing for men, it felt right. I decided to major in menswear in my honours year. From there, I just knew that was what I was good at and I wanted to pursue it. I started my label a few years later after working with some amazing designers such as Romance Was Born and Strateas Carlucci.

Why sports-luxe, and what is the finer definition of this term in your view?

ABCH

I have been championing this style since before I graduated but for Article. by Courtney Holm, sport-luxe is not just a catchy phrase. It’s a timeless way of styling and designing. I design high-end fashion, but it is heavily influenced by the things in my world. One of those things is health and fitness and a love for the comforts and technicality of sportswear, such as technical fibres, compression panelling, elasticated waistbands, pullovers and drawstrings. I weave these things into high fashion garments to make them the ultimate wearable goods. To me, this term means a sense of quality and durability.

Model standing in an urban setting under a bridge dressed in the sports-luxe wear and technical fabric inspired by pop and internet culture, and elemental street styling.

Article. by Courtney Holm

I believe the production of your garments is in Melbourne … has that been challenging for you to maintain?

ABCH

Yes, all my goods, apart from a t-shirt which is manufactured in Sydney, is produced in Melbourne. It is definitely a challenge, especially for keeping costs down. That is the hardest thing. I firmly believe in supporting local industries. As long as we have a Melbourne manufacturing industry and I am a part of the Melbourne community, I will support it. I feel sad that so many industries are seeing manufacturing go offshore, fashion included. I believe that soon there will be a return to local manufacturing and buying, but if we lose all our skills here in the meantime, it won’t be good news for our fashion labels in the future.

What do you see as the main challenges for an emerging designer in Australia?

ABCH

The main challenges I have faced are finding the right stockists for my niche non-traditional menswear market. Also, Australia has so many amazing designers, but often they are forced to go overseas and prove themselves offshore before they are fully embraced by our country. I find this annoying if anything. It’s also a challenge when starting a fashion business if you don’t have a lot of capital upfront, you have to wear so many hats for a long time until the business is profitable.

Model standing in an urban setting under a bridge dressed in the sports-luxe wear and technical fabric inspired by pop and internet culture, and elemental street styling.

Do you believe that the Australian fashion industry as a whole is supportive of emerging designers?

ABCH

I believe that in Melbourne there is more support for emerging designers than in other cities in Australia. I have lived in both Brisbane and Sydney, but the support in the Melbourne community has been outstanding in comparison. I still think we have such a long way to go if we compare ourselves to what other countries do to support their emerging designers, including fashion business specific grants, championing local manufacturing, industry contacts and mentoring. Fashion is a massive industry with huge potential in Australia, but often fashion businesses are not treated with the same respect.

If you could change three things about the support structure of our current industry, what would they be?

ABCH

More pathways to funding/investors for fashion businesses
More support from Australian media/PR agencies for emerging designers
Initiatives that reward and champion local manufacturing. Reinvent “Made in Australia”. This should be something to be proud of.

Do you think it is more difficult to design for men than women?

ABCH

No. I find designing for men much more satisfactory and it comes more naturally to me.

Model standing in an urban setting under a bridge dressed in the sports-luxe wear and technical fabric inspired by pop and internet culture, and elemental street styling.

Is the market of male consumers easier to please on the whole, or do you think it is more challenging than the womenswear market?

ABCH

I think it is more challenging in Australia, as men dress much more conservatively. What you see is really either formal/corporate or casual street/surf wear. It’s a small market of men who are truly “fashionable” in this country, however it is growing! Overseas the market is larger, but the competition is greater.

What is your view of the importance of showing your collections on the runway?

ABCH

I think it is so important to show the world that Article. by Courtney Holm is not going anywhere.

We are here to stay, and are a reputable brand who intends to grow! I think it’s important to keep being involved in runway shows as at this stage, it’s the best way to get your collection “out there” and I am using this runway to launch my latest collection which I am so excited to reveal on Thursday!

I understand you use a lot of technical fabrics. Could you please explain what this actually means and how these are fabrics produced?

ABCH

Technical fabrics utilise modern technology to create a fabric that is somehow enhanced or gives a greater performance than a woven or knitted natural fibre in the traditional sense is able to. I use coated waterproof fabrics and zippers, super lightweight membranes that weigh just over half an once per metre, ripstop fabrics that don’t tear under duress and compression fabrics that improve circulation. Mostly these fabrics are produced with technical yarns woven into the fabrics. Some are coated. Nanotechnology has allowed man-made fibres to be modified beyond what used to be perceived as cheap polyesters and the like. Now these materials are highly technical in their molecular makeup and refined for specific performance use in mind. It’s quite fascinating, especially when you start to mix these with natural fibres.

Model standing in an urban setting under a bridge dressed in the sports-luxe wear and technical fabric inspired by pop and internet culture, and elemental street styling.

What are the benefits of creating these fabrics?

ABCH

It’s the future!

Imagine a lightweight fabric that is as strong as armour? Or a material that releases smells, sounds or temperature changes? Imagine clothes that can change colour on their own to reflect your mood? The technology is already here, it’s just a matter or time before they are readily integrated into our clothing. Some things will be incredibly useful and powerful, other things will be purely for aesthetic and fun. The materials I use in my collections are just scratching the surface of what is possible.

Who would you describe as the Article. by Courtney Holm man?

ABCH

He’s a guy who loves to dress for himself. He doesn’t mind colour, cool fabrics or standing out. He is a creative and a thinker, he is into fitness, health and technology. However, ultimately he wants the clothes to feel amazing on his skin and last for a lifetime of use.

How do you believe the menswear market differs in Australia to international markets?

ABCH

I mentioned earlier that the Australian market is more conservative, I think there are a greater number of guys overseas dressing to stand out and to make their own statement. I think in Australia, these statements are made by wearing socks with suit pants, or having one unique accessory. We are much more conservative and slower on the uptake of trends. It’s gradually changing and I do see more guys dressing with some interesting ideas especially as new menswear labels pop up and gain momentum here.

Model standing in an urban setting under a bridge dressed in the sports-luxe wear and technical fabric inspired by pop and internet culture, and elemental street styling.

Do you see yourself growing and expanding to other markets and if so, where?

ABCH

Yes, my hit list is Korea, Hong Kong, Japan and London.

What is your view generally about ethical and sustainable fashion?

ABCH

I believe every fashion business has to make a choice about whether they will go for the cheapest option, or the more sustainable and ethical option. Sometimes these two things align, but often they don’t. Everyday choices towards wastage, how you treat people in and outside of your business and research about where your products come from and the people involved are what make you sustainable and ethical.

You can’t claim ignorance in our current climate, it’s just not good enough. We have all the resources at our fingertips, and it takes a lot of work and time to investigate the various options we have in sourcing, manufacturing and delivery but I believe that it’s essential to ensure our future.

Where does the inspiration for the designs on your fabrics come from?

ABCH

Various things that take my interest. Body parts, photos I have taken of my drape work, sketches and more. Usually it’s a very literal thing that I will manipulate over and over until I get an abstract result that I am visually excited by.

Model standing in an urban setting under a bridge dressed in the sports-luxe wear and technical fabric inspired by pop and internet culture, and elemental street styling.

Please tell me more about your love of pop culture, street styling, and elemental sportswear?

ABCH

I love sportswear, I am also a pilates instructor and personal trainer, so active clothing elements are always are part of my designs. I love styling. I have quite a knack for it and feel I can take the garments apart and reconstruct them in many different ways to achieve various looks. The street look is what I am aiming to promote through the label. Pop-culture icons have inspired me as I love the way an individual can champion a look and the two can become almost inseparable.

You describe your garments as ethical. What does this entail across the entire process of production?

ABCH

Minimise wastage in development and cutting.
Engaging manufacturers that are legal, treat their workers fairly and don’t outsource without your knowledge – this is much easier to do if you live in the same country you manufacture in!
Treat your employees well and fairly, this includes your sub-contractors and your interns.
Don’t claim ignorance. It’s really hard to know where everything comes from, especially fabrics. Keep searching and investigating all that goes into your brand and make everyday improvements.

Model standing in an urban setting under a bridge dressed in the sports-luxe wear and technical fabric inspired by pop and internet culture, and elemental street styling.

Do you love what you do?

ABCH

Yes.

What advice would you give to emerging designers? I recently read an article which claimed fashion design is a ‘false dream’. What do you think?

ABCH

It’s hard to say without reading the article personally. Fashion can seem glamorous and all, but it’s really a hard slog. I think people realise that the hard way a lot of the time. If you go to a good university, they should prepare you for that. In saying that, don’t let anyone tell you that you can’t do something or that it will never work. They might be right, but they might be wrong. Take all the feedback with a pinch of salt, and think critically of your own work.

Model standing in an urban setting under a bridge dressed in the sports-luxe wear and technical fabric inspired by pop and internet culture, and elemental street styling.

What do you envisage for the future of the Australian fashion industry?

ABCH

I envisage a return to local manufacturing and the revitalisation of our industry.

I’d love to see (or create) a hub for fashion designers to develop, grow and emerge into the world from the design studio space. A space which offered manufacturing, printing, knitting and dyeing capabilities and a place where designers are truly supported by the local government and media.

Where would you like to see yourself in five years from now?

ABCH

Running a financially lucrative business that is able to continue to pioneer new styles in menswear around the world while also supporting the local industry. Creating new jobs and helping to develop other emerging designers.

What are you most looking forward to in the showing of your collection at VAMFF?

ABCH

Hanging out with all the other amazing designers, seeing my clothes come down the catwalk for the first time and launching what will be our biggest year and collection yet!

Go Courtney! Label Ministry will be there cheering you on! Check out Article. bch!

Accreditations:

Design & Styling| Courtney Holm | Facebook | Twitter| Instagram

Photography | Brooke Holm | Facebook | Instagram

Creative Direction | Graphic Design: Instagram

HMUA | Chantal Lee | Chantal Lee

Model | Tom Brennan | Instagram

Pop Video Accreditations:

Design & Styling | Courtney Holm

Shot, Cut & Directed by | Noel Smyth

Music | Marcus Hollands | Instagram

Talent | James Kremers (Scene) | Instagram

Hair and Makeup | Martell Hunt

Until next time,

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

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.”

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

Australian Fashion Industry, Editorial, Global Fashion Industry

Too Cool for School

July 12

Model with an open shirt modelling with the beach behind her with clear blue sky

Three models on a beach under a hut dressed in red predominantly with clear blue sky behind

Photography/Styling: Karlstrom Creatives Makeup: Chris Chisato Arai

Tick Tock Tick Tock … who’ll be next for the chopping block?

Why is it that an industry with so much talent and so much promise, essentially, does not function as it should?

I am referring to the Australian fashion industry … well, at least part of it.

Recently, I launched a new online platform called Label Ministry. Its purpose, amongst other things is to provide much needed support and exposure to all Australian fashion designers, both emerging and established. This platform provides a stage to showcase the talent and aspirations of our amazing designers and to connect them on a personal level with the fashionistas of the world, and their fashion consumer audience to access a greater level of global exposure, recognition, success and profitability.

In addition to this, the platform is open also to all creative teams who work in Australian fashion, be they models, photographers, stylists and so on.

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