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Australian Fashion Industry, Interview, Melbourne Fashion Festival, Men, VAMFF

Amxander The Great

March 3

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

In my opinion, Amxander is headed for the big time. The world at large awaits their obvious talent and next week, Melbourne, is their fashion oyster!

It is ramping up to that time of year again.

Melbourne. VAMFF. The fashion festival that spreads as far and wide as the city of Melbourne itself. The excitement is palpable and why wouldn’t it be? With so many designers descending upon Melbourne to show their collections on the runway, and many of whom, call Melbourne home.

I am particularly excited this year as 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 historically and currently is significantly under represented, at least by local designers.

This year however, I am thrilled to say I will be watching with great anticipation as Jason Pang’s label, Amxander shows off! And show off they will.

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, with the likes of ASSK, Article. by Courtney Holm, and of course the highlight of this article, Amxander. 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 before I wear myself out with my own excitement over the coming week in Melbourne …

I absolutely love your label. It has been a long time since I have seen such innovative, interesting, and most importantly wearable men’s fashion in Australia. Who is behind the AMXANDER label?

AMX

The label AMXANDER was formed from the ideas and experiences of a few close friends.

We all come from various design and design-related marketing backgrounds. Our business manager, Jake Chen, Art Director, Edmond Chua, and myself, Creative Director.

All of us joined together with the goal to bring a new light to the menswear market, which we found to be especially under-represented/under-developed in Australia.

You describe your label as ‘print focused’ design? Would you regard this the same as sublimation garments?

AMX

The idea of print should not be constricted to only being sublimations or digital applications. By print we mean creating a motif – a symbol. It may be through different textile applications, for example knitting, embossing, or embroidery. There are various ways to ‘create print’. This is the core idea behind our label and we try to think of new ways to communicate our symbols in new and innovative ways each season.

You have been described by NJAL (Not Just A Label) as ‘Black Sheep’ … ‘designers revolutionizing the industry and forging their own paths’. How do you see yourselves?

AMX

It truly is an honour for us as a young label to be given such credit. I see us as a small team of hardworking individuals who have a clear vision of what our take on a menswear brand should be. I am glad that we are still able to have that vision and keep our minds focused – relieving ourselves of the fads that revolves around this industry. We try to keep ourselves on the right track.

How would you describe the AMXANDER man? Who specifically is your demographic?

AMX

The AMXANDER guy is someone who understands and appreciates fashion in an understated manner; someone who would like to stand out from the crowd and exert their individuality from time to time, but also be cautious of not going overboard.

Do you intend to take your label overseas?

AMX

Taking the label overseas has always been an initial plan of ours. So far we have showcased in New York, London, Paris and also have a wider presence in Asia.

I particularly love your collection ‘Forage’, but I love the others too! How do achieve making each collection look so distinct?

AMX

Our main idea revolves around the fact that the menswear market doesn’t shift around trends as much as womenswear – as such, our collections are based on a ‘theme’ rather than being a seasonal inclusion.

You’ll notice that our collections all feature classic menswear silhouettes (the tee-shirt, sweatshirt, etc.) and each collection uses prints, textiles and other techniques to bring forth the theme that the collection is named after.

Each theme that we explore revolves around existing masculinity ‘myths’ and symbolism. For example, our first collection, Shatter, revolved around the primal man, contrasted against the digital revolution, and our second collection, Hounds, revolved around the classic hounds tooth motif – traditionally a symbol of wealth in the late 1800s.

Please define the term ‘Capsule Collection’

AMX

‘Capsule Collection’ to me is a sufficient sized range that a label puts together that represents a clear theme/concept.

It is also an appetizer for the core concept behind the brand and what it has to offer.

As you can see from our website, we’re currently offering our 5th collection’s capsule to communicate the core ideologies behind the collection via simple garments.

Where do you find the themes/names for each collection?

AMX

As with all ideas, these themes come from curiosity. We throw these ideas around, and sometimes we hit an idea that just resonates well for each of us.

I believe you worked for Mary Katrantzou in London. Wow! What did you love most about this experience?

AMX

She has always been an inspiration to me since my days in university. The best part was actually getting exposed to the fashion industry at an international level.

Hectic schedules, business meetings, fabrics you can only dream of creating, top models, London Fashion Week backstage – these are only a few a many things that I got to be a part of and I remember it all very fondly.

You say you wanted ‘to bring a breath of fresh air to the Australian menswear market’. I believe you have. How did you formulate your plan to bring this into being?

AMX

We have noticed that there has been a drastic shift in the once static high-end market that resulted in contemporary labels really making an impact on the fashion scene. What was especially interesting was that we found men wanted to escape the pencil pushing life, and express themselves as individuals. We wanted to create an avenue for this and thus created AMXANDER.

Where and how do you look for inspiration?

AMX

I usually articulate ideas from what I experience every day. I am a very ‘visual’ person. Random things capture my attention in day to day life – whether it is a well dressed stranger or things that I see on the media. I am not one who is fixated about where I draw my inspirations from; it is something that is ever changing.

How do you feel about the support levels within the Australian fashion industry?

AMX

It is gradually improving as more and more organizations realize the importance of their input in cultivating Australia’s next generation of fashion creatives.

Of course, it would be great to see large retailers take on emerging labels – it’s going to be a risk, but it could pay handsomely for the industry.

Do you believe that there is more support for Australian emerging designers overseas? If so, why?

AMX

I must admit that there is a much bigger platform outside of Australia; the market for fashion is just more responsive to interesting ideas. There is still a level of conservativeness here in Australia.

Do you believe that the creation of a successful menswear label is more difficult than women’s wear?

AMX

Women generally spend more time and effort deciding and putting together what they wear. So my answer would be yes.

It almost takes double the effort selling clothing to men as apposed to women – that’s just how it is – for now.

Do you believe that Australian men dress well?

AMX

I believe they actively care for their appearance but it can be quite monotonous – in a good way.

Most men seem to favor blue-collar dressing and/or what I call ‘slouch-chic’ (a combination of various loosely-cut garments, almost loungewear-like).

If you could offer Australian men advice on how to dress better, what would that be?

AMX

I might be a bit biased on this one but I’d obviously hope to see more men willing to tackle a wider range of textiles and colours.

Most of my male friends tend to say that they feel comfortable in t-shirts and chinos/jeans.

This is where a subtle pop of color or small applied details could separate one from the crowd without going overboard.

What is your opinion of the way Australians present themselves in general?

AMX

Australians are generally quite outspoken and can easily adapt to being in most foreign situations.

From experience, they definitely light up the room!

Your designs almost remind me of a media/visual arts graduate’s work. How have you taken your vision of patterns and transformed it to fabric?

AMX

We design as a team. Despite being in different areas of design, we all come from common arts backgrounds. (Sketching, Painting, Computer Aided Design etc.). This is a form of language that we communicate with. Together we figure out ways of executing our work in 3D context.

Where are your fabrics sourced?

AMX

It varies but most of the time it would be locally sourced in Australia or Asia.

Where are your garments made?

AMX

Some garments are made in-house. Otherwise, we work closely with our pattern makers (who have over 40 years experience) in Hong Kong.

Does the production of your garments require particular machinery?

AMX

It depends on the requirements of each season, but we do sometimes require particular machinery to create certain things outside of the basic industrial machinery.

What are the ultimate dreams of your label?

AMX

For me, I hope that AMXANDER can be a pioneer in the Australian menswear fashion scene.

We hope to be able to showcase to the world that there is a lot of creative talent down under. That we deserve the spotlight once in a while.

What is your view of the runway and do you believe it is an important vehicle for exposure?

AMX

I believe having put together a runway show is an important vehicle for exposure but it is not the ONLY way. Established labels invest a lot of time, money and effort into putting together runway presentations and this may not be a luxury that all upcoming designers can afford.

Today, even the biggest brands are testing non-conventional ways of presenting their line and most have been extremely successful.

Do you believe that much of your exposure is achieved through social media?

AMX

Social media has definitely played an important for us growing as an independent label.

I believe it is the most direct and efficient way to interact with our customers and they seem to react to it well.

How do you feel about the traditional roles of editorial?

AMX

Editorials have been an important segment for decades.

Traditional or non-traditional, the images we see on most blogs or fashion websites are in fact editorials. Whether it be a set of backstage photographs or snaps of a dolled-up model from someone’s iPhone, any images that have been stylised in one way or another is a form of editorial work – that’s how I see it.

How do you select working with particular stylists and creative teams?

AMX

We surround ourselves with people whom we feel comfortable with and who respect us for being creative individuals.

What are you most looking forward to in your involvement with VAMFF?

AMX

It is our first runway show with VAMFF and so far the pre-runway preparations have been very smooth.

We are definitely looking forward to meeting new people and get as much feedback as we can to further grow AMXANDER.

Until next time,

Jade xx

Accreditations:

Model: Greg Han & Benjamin Charles | Photography: Chen Chi & Vikk Shayen | Stylist: Jake Chen |

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

ASSK

February 26

Autumn/Winter 2015. Asian model sitting in front a red vinyl sheet in a blue bomber jacket with writing across the back of the jacket. The model is being photographed in white mirrored sunglasses.

The fashion industry has changed dramatically over the past five years. Having an international presence is very important. Adhering to a strong brand vision.

Sarah Schofield

Autumn/Winter 2015 - Male model dressed in ASSK - black and white bomber jacket with matching pants standing in front of a red vinyl sheet. Street wear at it's best.

Photographer | Elliott Lauren
MUA/Hair | Holly Rose Butler
Models | Chadwicks

I am in the process of gearing myself up for Melbourne Fashion Week. During my usual reconnaissance of scouring interesting fashion food in the lead up, I was fascinated by the street label simply know as ASSK, and quite simply blown away by the photography surrounding their Autumn/Winter 2015 and Spring/Summer 2016 campaigns.

Of course my first question was how the name was birthed.

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.

They are really excited to be back home and showing in the Discovery Runway at VAMFF.

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.

On the topic of inspiration, they are always interested in current pop culture and movements about the future. They are never interested in looking back at the past.

They are inspired by sub-cultures, and their new ability to form online. Once the emergence of sub-cultures was quite localised. Like the Punk movement in London. They now celebrate disparate individuals across the world meeting and connecting over shared interests and beliefs.

Interestingly, their garments are made in Poland close to Wroclaw. This is where Agatha’s family comes from.

They also make some sublimation garments in China. Although expensive, it serves a good purpose as it allows us to have access to top quality machinery. For their customer, this means “super detailed effects”.

I simply cannot wait to see what this label comes up with on the Runway at VAMFF. Any wonder these two girls are enjoying the sweet smell of success.

Enjoy xx

Jade

Autumn/Winter 2015 Campaign. Asian girl sitting in an ASSK sweater with black and white textured wall behind.

Photographer | Elliott Lauren
MUA/Hair | Holly Rose Butler
Models | Chadwicks

Do you feel that art & fashion belong together on the Runway?

ASSK

Yes. I definitely believe that there are strong links between fashion and art on and off the runway.

I think that the more recent trend for designers to show in presentations rather than traditional runway gives a chance for people to be free and creative. To lean closer to an immersive experience or performance art.

Do you believe that editorial or social media gives your label the most beneficial exposure?

ASSK

Editorial and social media are two very different things.

Editorial exposure can be quite hard to get. Often clothing goes out on a lot of shoots, but that doesn’t mean it will make it onto the model. Or that the image will be visible in a magazine. Hopefully, the stylist will let you know about the photo, but often it is represented in poor taste (like a caucasian model with cornrows) and you can’t publicise it.

But when it does come together and a beautiful image is featured in a great magazine, it’s awesome!

Traditional editorial press is still important to become known by top stylists, photographers and editors.

Social media is great for gaining new fans and having a direct line to them.

It allows the opportunity to strengthen the brands image and reach people all over the world with ease. It provides a way of knowing who buys the clothes and how they style them. Our fans are really creative and create a lot of great content for us – they tag us in everything!

What is your view of the way young women dress today? Do you feel that some of them tend to dress the same?

ASSK

I think the way young people dress today is great, and while there is often local or global trends, I wouldn’t say that people dress the same.

Today there is more freedom than ever before for young people to be whoever they identify as and dress how they like.

I think that the internet has allowed more freedom as well. Connecting to different communities online makes us open to ideas and have access to different clothing.

We devoured issues of ‘The Face’ which were often months out of date by the time they reached Australia. now you have much more There is much greater access to visuals and clothing now.

Would you describe your label as street style?

ASSK

Yes. We would identify as ‘street style’. As the brand has developed it has become more ready-to-wear rather than just simple t-shirts and hoodies.

Autumn/Winter 2015 Male model standing in front of a black and white wall in a black bomber jacket and street wear pants.

Photographer | Elliott Lauren
MUA/Hair | Holly Rose Butler
Models | Chadwicks

Do you think it is difficult for emerging designers to receive sponsorship opportunities?

ASSK

I don’t think so. I think there is a lot of opportunities for designers to look for sponsorship. Many companies are excited by the ‘glamourous’ idea of being linked with young fashion brands.

Nothing is ever going to come easy as a young designer, but it is all about being creative and aligning yourself with companies which have similar goals.

Do you believe that it is easier for emerging designers to achieve faster and greater success outside of Australia?

ASSK

No not at all. I think that it is definitely easier in some countries, such as England, with the support offered.

Australia also has its advantages. People see it as interesting and innovative. Australians are inventive problem solvers. It is a very easy and efficient place to start a small business.

Today with new ways of disseminating brand image and innovative ways of selling to international buyers, there is no reason why Australian brands can’t be as successful as designers based overseas.

Photographer | Elliott Lauren
MUA/Hair | Holly Rose Butler
Models | Chadwicks

Why do you think it is so hard for emerging designers to get off the ground in Australia?

ASSK

I think that it is for two reasons.

Firstly, most of the emerging designers in Australia launch their brand on graduating university.

I think to increase your likely hood of success you first need to gain a good level of industry experience, strong industry connections and have a solid amount of money saved.

Secondly, I think that many people are following the same pattern that other older Australian designers have followed and failed with.

They graduate, launch a brand with little experience, have the overheads of a studio before selling anything, and they focus on the local market for years believing they need to make it here before trying overseas.

The fashion industry has changed dramatically over the past five years. Having an international presence is very important. Adhering to a strong brand vision.

Trying to flood a small commercial pool means the reliance on the strength of one market or one currency.

Do you believe that the Runway is an essential tool to show a fashion collection?

ASSK

I believe that within the first two years a designer needs public presentation of their work. It doesn’t have to take the form of runway, but it is important for press and buyers. It is a way to solidify a vision through all the aspects … invitation to music to casting.

It often becomes a springboard for new ideas to continue with in the future.

Male Model standing in front of black doors in July 2016 in Paris.

Photography | Christelle de Castro
Models | Chadwicks

What are your thoughts regarding ethical and sustainable practices?

ASSK

I think that brands should absolutely try and work within the highest ethical and sustainable practices, both in their production and in their everyday studio life.

Where would you like to see your label in five years?

ASSK

We don’t know! We have had a great time and great success, but being a small brand is very hard. Especially because we never set out to have a brand, it was a creative project which snowballed in popularity and grew too quickly.

We are currently working on a plan to have better balance in the company. We need more time to be creative and less time wading through emails. Ideally the brand would become a more manageable collaborative project again, working with artists and creatives. We would release small capsule collections outside of the fashion calendar.

Do you believe that the difficult times in Australian fashion can be solved by collaborative efforts to help one another?

ASSK

I believe that people working collaboratively is very important, not only for projects but in the sharing of information. It can be really hard to start out and nobody wants to be seen as struggling in a small competitive fashion industry.

Sometimes the most generous thing you can give is the truth.

Do you think fashion industries outside of Australia enjoy more connectivity and a more cohesive culture?

ASSK

Not necessarily. I think that each industry and each country/city has its pros and cons.

London is great because of the support offered to young designers, but it’s living costs have become insane.

Paris has amazing fashion houses and history, but it is a very hard place to assimilate into and run a small business.

New York has an amazing young scene with artists and energy, but the work pace is intense and the city is still dominated by big commercial business.

Everywhere has its good and bad side. Australia has great advantages. People shouldn’t get bogged down by feeling that we are missing out.

Male model standing in an ASSK shirt from the 2016 campaign shoot in front of a red door.

Photography | Christelle de Castro
Models | Chadwicks

Who are your favourite Australian and international fashion designers?

ASSK

In Australia I love Maticevski. He creates beautiful clothing and I admire his success.

Internationally, I love Raf Simons for Dior, especially the couture – I love almost all Haute Couture!

Agatha and I both love Vetements. We are friends with many of their collaborators and their energy has changed Paris. I feel ver hopeful for what Demna Gvasalia will now do at Balenciaga.

I also love Hood By Air. I would not buy any of their clothes however, I think what they have achieved is incredible. They started from nothing and have actually changed fashion and created a certain culture – not many designers can say that.

Their brand identity is so strong and individual. Their presentations are some of the best I have ever seen.

What is your view of social media as a platform for the exposure of fashion?

ASSK

I think social media is great, it has definitely influenced the way that we communicate with people. Through Instagram we have a direct line with our fans and customers all over the world. We have made friends, met collaborators and connected with people, which would otherwise have been impossible with the old media.

What do you believe is the impact of “fast fashion” on a label such as yours?

ASSK

I don’t know if fast fashion has an impact on our brand. We learnt early on that our customer likes individual pieces and the crazier the better!

We don’t need to worry about relying on selling basics, and our designs often have complicated prints and small details that you don’t find in mass-market clothing.

I think it’s really bad when mass-market blatantly rips off young designers. Their accelerated supply chain allows for quicker in-store product placement, but I think customers are becoming more aware. The internet has made it possible to call-out ‘the copiers’.

We have had a few copies and there is counterfeit ASSK out there, but it’s not at the point where it affects our bottom line or brand image. We laugh it off and keep going.

Male model standing in front of black doors on blue vinyl sheeting in street wear t-shirt, shorts and timberland style boots.

Photography | Christelle de Castro
Models | Chadwicks

What would you regard as the ultimate success for your label?

ASSK

The dream would be for ASSK to release several small capsule collections each year in collaboration with different artists and designers. To stay true to our ideals and creativity.

Our personal dreams are to have the time to return to our individual careers. Mine as a creative consultant for emerging brands, and working as a designer inside a luxury fashion house in Paris again. Agatha’s … working in the nutrition and fitness industry.

Love ASSK here.

ASSK clothing can be purchased in Australia at Distal Phalanx in Melbourne.

Can’t wait to see what these guys come up with at VAMFF 2016.

See you on Instagram!

Until next time,

Jade xx

Accreditations:

Autumn/Winter 2015

Photography: Elliott Lauren

MUA/Hair: Holly Rose Butler

Models : Chadwicks (Prince, Karina and Andy)

Spring/Sumer 2016

Photography: Christelle de Castro

Models: Chadwicks (Malick and Dourane)

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