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Aussie Fashion, Australian Designer, Australian Fashion

Claire Marrazza | Fashion Design Studio

November 21

Claire Marrazza and her label Nokoff, graduating student from Fashion Design Studio, Ultimo TAFE 2020

In recent weeks, as I do every year, I have been liaising with the wonderful emerging designers from Fashion Design Studio as they move closer to what will be their greatest moment thus far, in their fashion careers. The FDS Graduate Runway. This is where their final collections are put on show celebrating the amazing detail of the many aspects which have made up their fashion design degrees.

Claire’s name was incredibly familiar to me and as I pondered, I realised that she had been one of the wonderful volunteers at the Jurassic World Fallen Kingdom Runway developed and produced by yours truly in 2018 in collaboration with Universal Studios to celebrate the 25th Anniversary of the Jurassic Park franchise at Australian Technology Park. The first collaboration of its kind for Australian fashion.

I asked Claire how she enjoyed the experience …

The 2018 Jurassic World event held at Australian Technology Park was the first big fashion event I ever got to experience/work behind the scenes at. The quick changes and energetic atmosphere were super new and exciting to me as a baby fashion student and the event was a great introduction to the inner workings of a runway. It gave me great insight into the organisation and work that goes into a show. It was an invaluable experience.

Meet Claire Merrazza and her label, Nokoff.

Enjoy!

Claire Marrazza and her label Nokoff, graduating student from Fashion Design Studio, Ultimo TAFE 2020

What was the driving force for you to study fashion design?

I have always been interested in clothes, dressing up and having fun with fashion. I wanted to study fashion design. It is exciting and is a way for us to express ourselves and be whatever we want to be. The expression of it is limitless.

What are your hopes and dreams for your chosen career as a fashion designer?

I hope to work in and to explore many different facets of the fashion world, from photography, styling and costume to designing, creating and making. I want to collaborate with and meet other creative people, to see lots of new places and to learn as much as I can about my field and about myself.

How would you describe your particular aesthetic and where did the inspiration come from for this aesthetic?

My aesthetic can be described as playful, novel, humorous and colourful. It is simply what comes naturally to me and is generally inspired by how I dress and what I admire in clothes and styling. My designs are a hyperbolic version of how I dress myself. Experimentation with imagery, colour and texture, as well as the idea of “playing dress-ups” are all central parts of my aesthetic.

Who do you see as your customer?

Anyone who wants to have fun with the way they dress and to feel less inhibited. My ideal customer has no age, no gender, and no body type — and fashion the ideal of fashion which includes everyone is something I hope to encourage.

How much importance do you place on the theatre of “the runway”?

I think the runway is an exciting atmosphere. There are other ways to showcase clothing that are also welcoming and accessible to people, especially those that are new to exploring fashion.

What do you feel is the difference between a successful fashion designer and an unsuccessful fashion designer?

I think a successful fashion designer looks to themselves for reassurance of what they are doing, not to others for trends or profits. To me, staying true to oneself as a designer is what true success means, and it deeply enriches a designer’s work when they do so.

How do you feel the fashion industry has supported you so far?

So far, I have felt most supported by my peers and fellow creatives within the industry. The understanding we have of one another — especially through tough times of self-doubt and unsureness — is one of great importance in an industry so tough.

Claire Marrazza and her label Nokoff, graduating student from Fashion Design Studio, Ultimo TAFE 2020

What changes and level of support would you like to see for the future of the Australian fashion industry?

Increased opportunities for emerging designers is something that I think everyone would like to see in the near future. Graduates have lesser opportunity and are forced into working countless internships before a chance in a design role. The Australian fashion landscape has a lot of growth to do in terms of jobs, variety and inclusiveness and I hope to see that shift sooner rather than later.

What is the hardest thing you have had to face in your journey of the fashion industry so far?

Undoubtably, staying true to what you want to design can be really difficult due to outside pressures and constant exposure to other creatives design work. Not following trends can be really tricky but it is so worth it to stick with your personal vision and what you truly want to create.

What does Australian fashion mean to you and how do you see it in terms of contrast with other countries and regions of the world?

I feel that Australian fashion is a little bit timid and hesitant to jump into the more eccentric and experimental fashion seen in other parts of the world. Australian designers and students have some crazy big talent and I hope they can assist in helping Australia have a bigger standing on the global fashion stage.

What does the word fashion mean to you and the people around you?

Fashion is a means to connect with others and is also a way of exploring and connecting to your own identity through self-expression.

People often describe fashion as vacuous and unnecessary. What would you say to people who hold this opinion?

Unfortunately the fashion world can be very exclusive and polarising, but things are definitely changing. I think we need to keep pushing for a fashion world that includes everyone. To those who say fashion is trivial, I believe that it’s a matter of engaging with the parts of fashion that connects with ones sense of self.

Do you feel excited about your fashion career or do you feel that it is peppered with anxiety about the future?

It changes every day!

Like most creative careers, there are times of anxiety, but the outcomes and exciting times outweigh the fears.

Claire Marrazza and her label Nokoff, graduating student from Fashion Design Studio, Ultimo TAFE 2020

How do you feel about stepping out in the big wide world of fashion after having been in study mode for three years?

It’s scary, but I’m really not fussed as long as I’m constantly creating and having a good time. I’m looking forward to learning and growing and expanding my skills. So much has changed for me in the last three years since I started studying fashion, and at this rate I can’t wait to see what’s in store for me in the future.

What are you looking forward to the most for your graduate runway and your moment of glory?

To see the work come together as a cohesive collection will be so rewarding. It’s surreal to finally see the illustrations on the page and the ideas in my head become a walking reality.

How do you feel about having older models walk in your show, when this has not been done before.

I’m really excited about it and I think it’s something that will become a permanent change in the industry, which is so important and fantastic.

So often older people are largely excluded from being represented in fashion and are expected to conform to a certain way of dressing.

Fashion should be fun for everyone, and self-expression doesn’t become less important after a certain age.

Amen!

What would you like to see as the format of the runway in the future?

I would love to see a rise in fashion displayed in showcases or performance-art like artist Vanessa Beecroft’s style. I think it’s another way that the designer can create a stronger and more cohesive vision for their collections that enhance the power of the garments.

The creation of their textile designs alone come into being from the most incredible sources … in one case, from the students own photography. Textiles, dyeing, devore, screen printing … are the basis of the incredible work which is consistently turned out, year in and year out at Fashion Design Studio. The lecturers are full of heart, love and professionalism. Their enthusiasm and devotion to the industry they love and the people who choose to walk in their original footsteps is unending. To all of them, Alex Zehntner, Laura Washington, Julie, Mary and Narelle, I say “Thank You”. They are the unsung heroes in this story as they are the foundations of the success of the long list of Australian fashion icons that have stepped out of this institution many moons ago now. This year, we are entering a new paradigm for the Graduate Runway, in line with the release of my new project, The Ageless Runway, where I will be walking along with some other silver foxes I think we are all aware now that fashion is for everyone, and we all want success for everyone in all sectors of the industry. This is our new future of Australian fashion, and it always starts with those who will literally form the future of our industry … the wonderful emerging talent. In the next little while on the Label Ministry platform I will be showcasing the FDS designers who have chosen to have the golden oldies walk for them.

Stay tuned for the next interview …

Until next time,

Jade xx

Australian Designer, Australian Fashion Industry, MBFWA

BACKSTAGE #mbfwa2018

June 14

Backstage at Fashion Design Studio at Mercedes Benz Fashion Week in Sydney at Carriageworks 2018.

Fashion Week is always special. And strangely, always, each and every year, in a different way.

For me, arriving there one year since the last time felt strange. So much has happened in one year, and quite literally months of my life had been devoted to a very important project, both for myself and for the Australian fashion industry. Those of you who know me, and now there are many, you will know that that project was none other than the Jurassic World Fallen Kingdom Runway, held in April of this year. I was thrilled to be able to work with, encourage, and develop the designers with whom I was so closely aligned on this project, as well as developing the concept in this country of working with international big guns who see benefit in fashion collaboration. This has long been my vision and I hope to see much more of it in the future.

Australian Designer, Australian Fashion Industry, Events

Lita Magazine meets Jurassic World in Sydney

June 10

In the coming weeks, I will be sharing some editorial work from teams who attended, supported and wrote about the recent Jurassic World Fallen Kingdom runway event made possible by the Universal franchise in Australia. Continue Reading…

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

Heavenly Scarves

August 16

Model sitting in a photographic shoot wearing an emerald green dress on a colourful green patterned modern chair, covered in green colourful scarves.

She is feminine, vulnerable, creative, and kind. Always confident and probably an environmental activist. Supremely human, flawed, constantly in flux, and always learning. A perfectionist of course, and highly passionate, but not fettered by the passing of time or conventional boundaries. Aspiring to soar and constantly on the search for inner and outer freedom, she has embarked on a life long journey to find creative fulfilment through which she can finally liberate her soul.

Linda Valentina Avramides

Model sitting for a photographic shoot for designer scarf label Valentina Avramides wrapped in a scarf and wearing a faux cream shaggy jacket.

One of the things that I love most about Australian fashion is the freedom of expression, inspiration and diversity that is ever-changing, ever-present and ever-evolving. One such brilliant example is Valentina Avramides, a wonderfully luxurious, colourful and contemporary scarf range. The collection exudes sophistication, class and finesse. I am not especially a scarf ‘donner’ but since discovering the superb quality and silky luxury, I am proud to announce that I am probably the newest convert. Scarves, especially silk, are incredibly versatile and they hide a multitude of sins, not to mention incredibly warm in cold weather. The designer, Linda Avramides, a Sydney graphic artist, has just launched her first collection. Her strict upbringing ensured that old Hollywood films took the place of her social life and early influencers were the glamorous and great iconic beauties, Ava, Grace, Audrey, Elizabeth, Natalie and Sophia, who engendered a love of photography, architecture and dance. About to unleash her creative masterpieces in London, Paris, Dubai and New York, the collection is available for pre-order now at Valentina Avramides … but you better get in fast girl because these babies won’t last for long!

Model sitting for a photographic shoot for designer scarf label Valentina Avramides in a red dress and high black shoes.

How was the Valentina Avramides label concept birthed?

I was inspired to do a show of my paintings in 2012, ‘Spirit Dance’; a series of illustrations depicting women in various stages of life and love. The paintings were multi media; collage, Japanese ink brush, vinyl paint, watercolour and pen on parchment. Deeply inspired by the fluidity and energy of dance, I knew it would transpose beautifully on silk showcasing the flow and sensuality inherent in its texture. This showing lead to the creation of my scarf collection where women can literally wear the specific dance of their own life’s journey.

You once mentioned that the inspiration for your label comes from outside of yourself. Please explain the relationship you have to your product?

This is true of creative processes for all people, however, I believe I am especially and consciously connected with my angels. When I began to paint, I had no clear vision; no real idea.

Just raw passion. An inspired, subconscious emotion. Almost a blind compulsion, which I felt the need to express and communicate visually.

At times, I would paint and rest and then I was asked to continue. It was almost trance like. I felt my hand was guided, a little like automatic writing. When the feeling of my trance subsided, I knew my image was completed.

Model sitting for a photographic shoot for designer scarf label Valentina Avramides wearing a black dress and scarf wrapped around her head.

Who is the Valentina Avramides woman?

She is feminine, vulnerable, creative, and kind. Always confident and probably an environmental activist. Supremely human, flawed, constantly in flux, and always learning. A perfectionist of course, and highly passionate, but not fettered by the passing of time or conventional boundaries. Aspiring to soar and constantly on the search for inner and outer freedom, she has embarked on a life long journey to find creative fulfilment through which she can finally liberate her soul.

How did you decide upon the chosen colour palette?

I am very well known for my monochromatic, and grey tonal wardrobe. I almost never wear colour or patterns. I believe strongly that colour heals. I intuitively choose colours to reflect a particular mood and soothe my aura. That is why I always adorn my tonal canvas with a bright flash of colour. A ring, a statement piece… a scarf.

In early 2012 I visited the retrospective Picasso exhibition at the Art Gallery of NSW, ‘Picasso: Masterpieces from the Musée National Picasso, Paris’. I was truly transported by the fluidity of line and extraordinary use of colour to convey narrative and emotion, as well as his ability to depict the female form in all its unique beauty. I was compelled and inspired to paint again.

Where do you see your product in years to come?

I see my scarves in huge demand in all the exclusive boutiques and stores throughout the world, bringing to light Australian design as leading edge and as current as any major fashion capital.

I also intend to expand my range incorporating silk evening coats, wraps, stoles and silk designer evening bags.

Model sitting for a photographic shoot for designer scarf label Valentina Avramides wearing a white contemporary jacket, white pants, lounging on a purple lounge.

What kind of retailers will stock your luxury scarf label?

High end, exclusive retailers throughout the world across the globe.

What designers are your heroes?

Christian Dior has inspired me in all its incarnations, from its inception to its latest collections. I would always opt for vintage Dior and Dior inspired creations.

You have always believed that your product is most suited to the overseas market. Why is that?

I find there is greater sophistication and emphasis on history and culture in Europe. I have strong family ties and friends scattered throughout the world. Culturally I align myself more with a European salon than the Australian outdoors and beach culture.

Model sitting for a photographic shoot for designer scarf label Valentina Avramides in a black dress and high black shoes.

Your range consists of three different sizes and two different styles? What inspired you to create the feminine tie, as well as the conventional square scarf style?

In my first collection, I found that the large square scarf was a shape that would best showcase the proportions of my paintings and artwork. I then expanded my collection with a smaller version of the square scarf to make it more versatile, later bringing in the tie scarf which is unisex and current.

I have always found my design inspiration in street-style as opposed to runway. My silk scarves are statement pieces that add an edge to any wardrobe and the ties can be worn as statement unisex jewellery.

Your scarves are made in Australia, with only the hand rolling of the square scarves being finished overseas. How important is Australian manufacturing to you?

I believe in supporting local industry and talent, in the same way that I wish to be encouraged and mentored by my peers. I worked closely with Think Positive (Digital Fabric Printers). A group of artists and technicians who strive to maintain high values, have uncompromising attention to detail, strict quality control and believe strongly in sustainability.

Model sitting for a photographic shoot for designer scarf label Valentina Avramides in an emerald green top with open shoulders and white trouser.

As an Australian artist I want to collaborate with like-minded, creative Australians. Australian design is leading edge and world class, and we must commit to our future by nurturing the amazing talent we have here.

What do you see as the current problems in the Australian fashion industry? Do you feel supported?

I feel that new designers need help to establish a business plan and general business advice. Too many designers start big, invest big and fail quickly.

I know we don’t like to focus on difficulty, but it does inspire other designers to know of your challenges when launching a label. What have yours been?

My biggest challenges have been to find locally made fabric, an almost impossible task, and competitively priced local hand finishers in order to produce a 100% Australian designed and manufactured product.

How important is it for you, to follow the dream of realising your own label?

I believe totally in my creativity and passion which is reflected in the Valentina Avramides label.

It is and will continue to be, my life’s work.

You see your label in London, Paris and New York … what retailers do you hope will stock your amazing collection?

Saks, Barneys, Macy’s, Nordstrom, Neiman Marcus, Harrods, Victoria Beckham, Galleries Lafayette in Paris, and Corso Como in Milan.

Model sitting for a photographic shoot for designer scarf label Valentina Avramides wearing a black dress with converse.

What advice would you give to someone who is starting their own label?

To carefully do your research, have a clear business plan, and engage professional advice.

How would you like Australian designers and creatives to be better supported?

I would like to see more open access to government grants and workshops for new emerging designers.

When can we look forward to another collection?

2018!

Model sitting for a photographic shoot for designer scarf label Valentina Avramides wearing a black strapless bra and covered in a scarf.

What Australian designers inspire you?

Zimmermann, Scanlan & Theodore, Constantina, Dion Lee

And international?

Giambattista Valli, Gucci, Prada, Christian Dior, Armani, Nina Ricci, Nicolas Ghesquiere, Balenciaga and Lanvin

How would you best describe the Australian aesthetic?

Colourful, outdoorsy, wild, unfettered and free.

Where do you see yourself in five years from now?

Designing my successful label and travelling between the major, global fashion capitals.

Meet Valentina Avramides on Instagram

Shop Valentina Avramides … pre-order now!

Model sitting for a photographic shoot for designer scarf label Valentina Avramides wearing a black open shoulder top, white pants on a bright yellow chair.

Accreditations

Designer | Linda Valentina Avramides

Photography | Karlstrom Creatives

Hair & MUA | Chris Chisato Arai

Stylist | Jade Cosgrove | Label Ministry

Production | Cartel Public Relations

Model | Kyra Charalambu

Until next time,

Jade xx

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.

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”.

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 |