Apparel Magazine | December/January 2020

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DECEMBER / JANUARY 2020 I VOL 53 I NO 01

The leading clothing and footwear specific business solution in Australia and New Zealand.

editor ’ s note

CLASS OF 2019 In this issue, we celebrate the graduating class of 2019.

These innovative and talented students are the next generation to carry on our industry, and it is our duty to help mould those who wish to learn and grow.

However, it is also important that universities and tertiary providers re-evaluate what they are offering students. While design is important, we cannot skimp on the basics. We have a huge hole for machinists, cutters, and pattern makers. The not-so-glitzy jobs are vital to our industry, yet no one is slapping lipstick on it and advising students that there is a career to be had. You can expose students to the wide world of resources, sustainability and history – but without a strong background in business, students are unprepared for the realities of job placement and career development opportunities.

With the hope of newcomers entering the local industry (and not heading off overseas) combined with the explosive trend of sustainable and buying local, this is an opportunity for our industry to thrive again. We are excited to see where the fashion industry will take the 2019 graduates and what will come from 2020 students. Congratulations to Whitecliffe graduate Tom Munday for winning the 2019 Graduate Apparel Magazine Award.

2019 also saw Apparel celebrate its 50th anniversary. In those five short decades, Apparel has continuously supported the New Zealand and Australian ragtrade; it’s manufacturers, exporters, importers, retailers, designers and all those backroom professionals that make it happen.

Apparel is proud to give ongoing support to emerging designers and help put them on a world stage. One of the ways we do this is by presenting a New Zealand showcase at Vancouver Fashion Week twice a year. We also are open to matchmaking young fashion entrepreneurs with established brands and companies. On top of this, we also sponsor and support several tertiary providers, fashion weeks, and emerging award shows like Hokonui Fashion Design Awards and iD Dunedin Fashion Week. We are involved, putting our money where our mouth is, by partnering with all those in the industry to make sure that New Zealand fashion is sustainable and can provide careers for those creatives wishing to enter the industry over the next fifty years.

As we enter into a new decade – Merry Christmas, happy holidays and a happy New Year from our team to yours.

the numbers ...

Since 2017, new arrival products described as 'vegan' have increased by 94%.

Up to 20,000 litres of water is needed to produce 1kg of cotton.

Polyester fabrics can take up to 200 years to break down.

Denim products described as 'recycled' have increased 683% since 2017.

Of the 40 million people working in the garment industry, 85% are female.

CHAIRMAN

Peter Mitchell ISSN 1171-2287 PUBLISHER Tania Walters - tania@reviewmags.com Suite 9, Level 3, 20 Augustus Tce, Parnell, Auckland, New Zealand Box 37 140, Parnell, Auckland, New Zealand ADMIN/SUBSCRIPTIONS Kieran Mitchell - kieran@reviewmags.com PO +64 9 304 0142 NZ Apparel is published monthly under licence by Review Publishing Co Ltd. Please direct all EDITORIAL DIRECTOR Sarah Mitchell - sarah@reviewmags.com enquiries and correspondence to NZ Apparel. The opinions and material published in this edition EDITOR Caitlan Mitchell - caitlan@reviewmags.com of NZ Apparel are not necessarily those of the publishers unless specifically stated. All material appearing in NZ Apparel is copyright and may only be reproduced with the consent of the CONTENT MANAGERS Caroline Boe - caroline@reviewmags.com publisher. Copyright 2018 NZ Apparel Magazine.

GRAPHIC DESIGN TEAM

Raymund Sarmiento

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Ciaran Carroll

fashionable reads

Ralph Lauren: In His Own Fashion

By Alan Flusser Alan Flusser’s biography on iconic American designer, Ralph Lauren, is not one to miss. Published as part of Ralph Lauren’s 50th anniversary, In His Own Fashion looks at the designer’s life, his fashion and cultural impact. This highly intimate book shows how a young boy from the Bronx created one of the most extraordinary brands in the world of high-end fashion.

This book showcases the ability to achieve goals, regardless of difficult circumstances. This book has been praised for giving readers the chance to absorb the content regarding fashion and the life of an inspirational man

Issues: A History of Photography in Fashion Magazines

By Vince Aletti

Known for his role as a photography critic at the Village Voice, Vince Aletti has collected thousands of magazines from nearly every era of the last century making him one of the biggest magazine enthusiasts. In this comprehensive book, he shares a collection of the most influential fashion magazine issues dating from 1925 to 2018. The collection not only applauds the iconic photography that emerged in fashion publications many years ago but also reassures the role of fashion magazines in cultivating photography talent.

Supreme Models: Iconic Black Women Who Revolutionized Fashion

By Marcellas Reynolds Supreme Models is an inspiring, fashionable read as it plays tribute to iconic black models both past and present. From some of the first-ever black women to be featured in magazines, Iman, Beverly Johnson and Donyale Luna to well-known supermodels Tyra Banks and Naomi Campbell can all be found in this book. Celebrity stylist Marcellas Reynolds features photographs of over 70 women from the past 60 years. Black models have been changing the world of fashion one step at a time. Refusing to be oppressed and excluded, these women have reshaped the standards and boundaries associated with 'traditional' beauty.

Marc Jacobs Illustrated

By Marc Jacobs The Iconic designer Marc Jacobs has self-published a biography, Marc Jacobs Illustrated. This book is a unique monograph of more than 50 collections from the last 25 years. Illustrated by Grace Coddington, it is both personal and educational as readers can immerse themselves into the world of everything Marc Jacob. Jacob’s written commentary about each of the collections allows its readers to engage with his sense of style while enjoying the colourful visuals.

fast five

INDUSTRY STALWART PASSES

INTRODUCING THE GIVE BACK BOX Solo New York is committed to creating trendy backpacks, totes, duffels, briefs and sleeves with thoughtful designs for everyone’s taste.

This year, Solo New York has teamed up with Give Back Box to host the Holiday Donation Project. The designer hopes to give new life to used bags by accepting pre-owned bags and donating them to non-profit organisations in the US working with Give Back Box. The program allows charities to help people in need during the holidays directly.

“Social responsibility is part of Solo New York’s DNA, and we’re very excited to be launching this new program right before the holidays,” said Solo

New York’s marketing Vice President, Serkan Anders. “So many of us have bags sitting around that we don’t use anymore, and we had a lot of fun coming up with the “We All Have Baggage We Don’t Need” slogan for this program. Give Back Box is a great organisation, and partnering with them makes it easy for people to make donations and help others who need a gently used bag, and get a reward that can be used for gifts or for getting a new bag for themselves.”

To encourage more people to donate used bags to charity, Solo New York is offering participants a $15 discount that can be used to purchase any bag worth $50 or more.

One of New Zealand’s most popular women’s footwear brands, Andrea Biani was founded by Sebastiano Perillo who earlier this month passed away in hospital after suffering a short illness.

Perillo first arrived in New Zealand in 1951.

He had to flee his hometown of Fiume, Croatia, with his family after World War II. The family stayed in refugee camps before the New Zealand government granted them refugee status.

Perillo’s career began during the 1960s when he created his first pair of shoes in his family’s shed in New Lynn. Perillo took a few samples to a retailer on Queen Street, they ordered ten pairs and sold out that same day. Perillo’ reputation in the industry began after he made a quality edition of the Beatle Boot. Once the style gained popularity, he moved onto women’s footwear.

While the brand has lost its founder and creator, Andrea Biani will continue to provide customers with the highest quality ranges and follow in the footsteps of Perillo.

CELEBRATE CHRISTMAS LOCALLY Mina has collaborated with both Orphans Kitchen and Fair Square Soap to provide mindful products perfect for the festive season.

While Mina has created a reputation for herself and her effortless womenswear, the clothing brand has been eager to intertwine fashion and food. In her collaboration with Orphans Kitchen, the duo have created the kitchen accessory of the season, a Mina x Orphans Kitchen Apron.

The brands share similar holistic values and believe that like good food, the best clothes are

made locally and with love. The pared-back navy apron is 100 percent linen and will be worn by the Orphan’s Kitchen staff.

Mina has partnered with Fair and Square to create an iconic Citrus Laundry Bar. Handmade using all-natural ingredients like Northland rainwater, saponified coconut oil, mandarin essential oils, lit sea essential oils, this bar promotes handwashing garments and being kinder to the environment.

Carly from Fair and Square soaps make the bars on her small lifestyle block in Tutukaka, New Zealand.

This collaboration represents Mina’s values of creating sustainable, hard-wearing fabrics and paying close attention to each design’s finishing. Everything Mina creates is made to last a lifetime.

“Look after your garments, and they will love you back.”

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SEWTEC REBRANDS HOLIDAY COLLABORATION Vans and Alltimers have teamed up to release a capsule collection which features two custom colourways of the Sk8-Mid Pro. This collaboration is all about mischievous indulgence which is inspired by Alltimer’s favourite vintage Looney Tunes sweater.

The range comes in blue and yellow colourways, with jacquard checkerboard knits and impish cartoon characters. The two brands created a cute-but-cool blue dragon character and party animal dog to embellish the collection.

Both custom colourways MAG AD.pdf 1 4/12/19 11:38 have asymmetrical designs with checkerboard panels on the medial

sides and the cartoon characters embroidered on each inner ankle.

The collection also features a custom jacquard beanie with the blue dragon character on the back, the dog on the front and a translucent Alltimers patch on the cuff. There is also a classic-fit graphic T-shirt and jacquard sweater which include the Alltimers martini logo and custom floral imagery on the right shoulder.

Alltimers recently unveiled its 2019 holiday collection which features outerwear, brand staples and winter accessories. However, this exciting AM new shoe collection is perfect for summer.

The well-known fashion tertiary provider, Swetec, is rebranding to become the New Zealand School of Art and Fashion (NZSAF). NZSAF is focused on educating future designers on how to function in the fast-paced environment that is the fashion and design industry.

As a leading institution combining passion and expertise, they provide excellent education and experience for future designers.

NZSAF encourages its students to think outside of the box and welcome different perspectives in order to grow and discover new things. The variety of courses available teaches students how to finetune the unique and intricate aspects of design that they can take and use in the industry after they

graduate.

Students are offered the best opportunities in their field, and they are taught the necessary skills to succeed and excel in the real world. NZSAF inspires teamwork and academic success, the institution functions as a whanau who respects the mana of each individual student from every walk of life.

NZSAF is a multi-cultural community which nurtures an inclusive culture. It is a place where students are inspired every day to achieve their goals and become successful in the industry. NZSAF is building the future of New Zealand design.

open days 2020 Study a Fashion Design programme at Whiteclie Fashion Tech in 2020.

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4 Feb 2020 | 110 Lambton Quay, Wellington 13 Feb 2020 | 67 Symonds Street, Auckland

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student life

Tom Munday Whitecliffe College

Tom Munday moved to Auckland from Christchurch for bigger and brighter job opportunities. He attended Whitecliffe College, where he was able to thrive as an artist.

When asked how he got into fashion, Munday recalled his experience in primary school during mufti-day.

“I remember one teacher of mine would host pageants on mufti-day, and everyone would vote for the best dressed,” said Munday. “I would always win the boys category, so maybe that’s where it all began.”

During high school, Munday used clothing as a form of self-expression and allowed him to find his individuality and passion for clothing.

“I took accounting classes in the hopes of one day being rich, but quickly became very bored and switched to a textiles class. It was there that I found my love for making clothing.”

The most valuable thing Munday learnt during his training was the importance of ethical clothing and the impacts of the production of clothing on the environment. During his youth, Munday did not know or care for the effects that big fashion industries had on the world, however, Whitecliffe opened his eyes to the negative impacts of capitalism and he has prioritised it ever since.

“It is through the fear of seeing these effects that I have rearranged my core values towards shining more light on changing the industry.”

Munday based his graduate collection on a narrative to completely “embody and flesh out the clothing.” A narrative allowed him to gain complete artistic freedom to create anything they want, within reason.

“You need a broad cast of characters in a movie to stop it from becoming boring, and I treat my collection the same. This year my collection follows the story of a postapocalyptic oligarchy that cannot give up their ego-fueled garbs, so they refashion them out of trash.”

The collection featured nine looks, with the models playing characters like the queen and the queen’s butler. Basing his collection on a story gave him the freedom to explore clothing based on characterisation. The biggest highlight for Munday saw all his characters come to life on the runway.

“With a myriad of backstage changes and plenty of props, I have never felt prouder of myself witnessing all nine looks I created.”

The fabrics used in Munday’s collection were specifically chosen to represent the narrative. From vinyl and

foam to upholstery fabrics which comment on consumerism, upcycling and decorating waste fabric, he described his collection as resembling old, vintage couches.

Kurt Vonnegut’s novel, Cat’s Cradle inspired this collection and represented a satire of the west, postWWII. Vonnegut’s ability to mask a severe metaphor behind irony and jokes led Munday to create his collection based on storytelling and dark humour.

Munday has never been one to take thing too seriously, so when he decided to combat the issue of consumerism, he used his beliefs of ethical clothing and love of storytelling when presenting his looks.

He believes that sewing is an invaluable skill for designers, even though it is tedious and backbreaking.

However, he prefers designing and pattern drafting as the outcome is much more satisfying, especially that feeling of finally figuring out how to draft a design.

“Construction is a real bore to me. Things go wrong too often, and I hate the underwhelming feeling of a final garment, not looking how you expect. However, there is much that can be learnt from a cloth when sewing and handling it.”

Munday explained that designers must build a relationship with the garment through sewing. Sewing has been a difficult skill to master for Munday, which is why he rarely incorporated it in his collection this year.

“There have been many times where I have wanted to achieve something with a design and come to realise that I don’t have the necessary skill to sew it. For example, lightweight silk can be unforgiving if you don’t know how to handle it.”

Munday currently interns at Taylor Boutique and Black Magazine, and he has learned valuable lessons about the industry like how vital relationships and networking are. He finds that the biggest challenge in the industry is the overwhelming amount of talent in New Zealand and the lack of jobs for that talent. However, Munday isn’t planning on starting his brand anytime soon as he would instead gain further experience in the industry and learn all the tips and tricks to help him in the future.

“The biggest opportunity for me is the growing need for designers who utilise and have knowledge of sustainable practices. My generation has a lot more to offer the industry, and I would love to advise existing companies on the complexities of sustainability,” he said.

Fiona Blue AUT

Fiona Blue grew up on a merino sheep farm surrounding Lake Ohau in the Mackenzie Basin.

When asked how she got into fashion, Blue explained that her childhood and background heavily influenced her style. “My brother Dugald and I would do a lot of drawing and painting. I think that because we lived rurally, we did need to problem solve and keep ourselves occupied, so I think that’s where both our creativity manifested from,” Blue explained.

After applying for various design mediums under AUT’s Bachelor of Design, Blue applied for Fashion Design out of pure interest and was surprised when she was accepted into the degree during the interview. “I didn’t have any previous experience in sewing or pattern making so I often look back and think I fell into fashion but also followed my gut.”

Although she faced several challenges while studying Fashion Design, particularly as she had no previous experience, she was determined not to give up. “I really learned how far I could push myself mentally and emotionally, as well as creatively.”

This year, AUT offered students the option of presenting a product range or a garment range which gave Blue the opportunity to present her eyewear range something she was passionate about creating. “I was very excited about this as I wouldn’t have had the opportunity to do an eyewear range if I hadn’t of taken a gap year between my second and third year of study.”

Blue considered getting her collection commercially made, but she wanted to have complete control over her work. The range features a variety of frames and lenses, hoping to give the wearer a comfortable experience, this quest for comfort led to the design of her

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textured glass lens. Keith Grinter at Burning Issues Gallery in Whangarei worked with Blue on creating these lenses using glass-blowing techniques. The frames are made from various materials like sculpture foam, aluminium and perspex. Finding a balance so the frames could support the lenses was difficult, but possible.

She hopes to go back to university next year to complete her masters in eyewear so she can develop her collection into a more sellable eyewear range.

Blue explained she chose to make glass lenses as a nod to where eyewear lens design first began. She explored the potential of glass as a material and the possibilities of manipulating it to create preferred textures, shapes and colours.

“My collection was essentially to create a space for the wearer to experience lenses that weren’t confined by the need to assist sight or UV protection.”

Despite growing up without learning how to sew, Blue found that interning for Rachel Mills and Penny Sage provided her with invaluable skills regarding creating a business and surviving in the fashion industry. “Both Rachel and Kate are such kind, nurturing designers and I have so much respect for them as individuals, their values, and what they produce.”

The biggest challenge, is the lack of financial support in the industry. It worries her to see so many fabric businesses closing and the decline of speciality skill sets.

Although she is just starting out in the industry, the future looks bright for Blue who hopes to get ranging for her collection in New Zealand and internationally. She would like to sell online or through social media, but of course, would be open to New Zealand or international stockists.

Bianca Lim-Yip Whitecliffe College From a young age, Bianca Lim-Yip's creativity has been her modus operandi which allowed her to express herself comfortably. Growing up, Lim-Yip knew she wanted to be creative, when she asked her mother what the role of becoming a fashion designer entailed, she described the experience as giving her a sense of clarity. “Looking back at it now, I guess that’s the reason why my thoughts and emotions are the primary inspiration for my designs,” said Lim-Yip. While studying fashion at Whitecliffe, she learned the importance following the process. Realising that the final result will most likely differ from the initial design, and then learning to accept this as part of the process taught Lim-Yip the valuable lesson of patience.

For her graduation project, she presented a seven-look collection at the Whitecliffe Fashion and Sustainability show. Her collection B.Y.E. is an explorative expression of her thoughts and concerns regarding the next phase of her life following graduation. “A highlight during the process of making B.Y.E. was seeing everything come together. This collection is the first that I am happy with.”

She maintained her personal values of quality, longevity and individuality; the B.Y.E. collection was constructed upon these principles to develop and solidify Lim-yip’s design practice. Drawing on ideas regarding spatial-related semiotics and sustainable practices; this collection narrates the journey of a caterpillar which represents Lim-Yip’s current self, evolving into a butterfly, which depicts her future self through the breaking of its cocoon. Working alongside talented photographer, Kyrissa Kolisnyk, the B.Y.E. collection is both personal to Lim-Yip but also relatable to the viewer. “I always go into designing a collection with a current internal conflict that I aim to resolve somewhat. This year, it was of my fears and excitement for life after graduation.”

Lim-Yip used deadstock fabrics, natural fibres, environmentally friendly dye, fabric scraps, discarded plastic pipes and tussah silk interlining which supports her purpose of providing an alternative that does not compromise the wellbeing of future generations and the ecosystem. B.Y.E. took inspiration from works by Maison Margiela and Comme des Garçons. “Collectively, both brands inspired me to value philosophical expression over the commercial clothing framework within my designs.”

The young designer prefers designing but sees the importance of sewing as a skill as, without the ability to sew, there wouldn’t be clothes.

She gained experience through interning for brands in New Zealand and Australia and was given roles like sorting paper for recycling to assisting in photoshoots. “I learned a lot about the industry and met many incredible people, with some even leading me to more great opportunities.”

When asked about the most significant challenge faced in the fashion industry, Lim-Yip explained that she had difficulty in staying true to herself.

“A weakness of mine is being a people pleaser,” she explained. “I can see myself in situations that will go against my design identity and values. I am slowly coming to terms that I cannot please everyone and that trusting my instincts and remaining myself is what’s important.”

Attending Whitecliffe has opened many doors for Lim-Yip, she is currently planning and saving for her overseas exchange in New York City which will allow her to further her experience as a designer. “The idea of beginning a new life in a different country excites me, and I can’t wait to see where this opportunity will lead me, as a creator and as an individual,” she said.

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colour trending

CAMILA AND MARC Resene Hive

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GRETA CONSTANTINE Resene Irresistible

HALFPENNY LONDON Resene Despacito

amila and Marc’s Spring 2020 collection saw a colour palette of trendy spring colours as well as minimal black, white and neutral tones. This collection was varied with flowing dresses and skirts, boxy collared playsuits, as well as a few appearances of bishop sleeves. Every piece told its own story. The full-length mustard yellow dress couldn’t help but glisten in the lights. With its high neckline, full-length sleeves and to-the-floor skirt, this piece has the maximum amount of surface area to reflect and capture light showcasing the gorgeous yellow hue reminiscent of Resene Hive.

For a collection that screams drama and confidence, look no further than Greta Constantine’s Spring 2020 Ready-to-Wear collection. Filled with billowy shapes and textures, every piece of this collection is unique.

Large ruffles and short hemlines trend throughout this collection, along with bright colours ranging from hot fuschias to metallic golds and silvers. The pink dress sees a hybrid of form-fitting and pillowlike silhouettes, with a colour captured by Resene Irresistible.

Halfpenny London showcased their 2020 Bridal

MARCHESA Resene Charcoal

collection for this spring. With modern silhouettes and unique styles, this 14-piece collection had something for everyone. Ranging from full-length gowns to elegant suits and pant combos, the showcase colour of this collection has the tone of Resene Despacito. The cowl neckline, paired with a gorgeous train showed that simple gowns are also visually stimulating. The subtle pink-beige undertone of this silky full-length gown was simple and flattering to most skin tones.

Marchesa’s Spring collection instantly transports to a feeling of a fairy-tale wonderland. Flowing dresses with flora and fauna inspired detailing Marchesa’s gowns are just dreamy. Although silk was not used as commonly throughout this collection, in comparison to the use of chiffon and tulle, this gown is undoubtedly a showstopper.

The contrast between the barely-there nude embellished bodice with the loud and extravagant silky bow and i-line is a head-turner with a punch of dark colour that is similar to Resene Charcoal.

Marina Moscone’s Spring 2020 Ready-to-Wear collection featured an abundance of full-length pieces and co-ordinates. Playing with peachy nudes, contrasting black and white and a few floral details, this collection showcased a range of exciting textures.

MARINA MOSCONE Resene Soulful

A standout was this full-length peachy jumpsuit with a creamier tone adding dimension to what otherwise would be a one-toned look. Peachy tones can also be seen in Resene Soulful.

Reem Acra’s colourful collection was a shout out to fun. The use of solid colours with an abundance of fabric created movement with every step. Large boxy silhouettes made up the core of this collection, with a few patterned and form-fitting pieces to complexity.

The saturated yellow silk dress was a shot of gold with a fabulous bow adding a touch of luxe something that also shines through in Resene Cleopatra.

The colour palette for Taoray Wang’s Spring 2020 collection encompassed minty greens with nude pastels.

The soft hues were often complemented with darker tones, as we see here in this minty and navy pairing. The puffed sleeve was enhanced by silky green material which reflected the light. The oversized sleeves were synched just above the elbow with a delicate jewelled cuff, adding a touch of glamour. The mint green colour of this top was an inspired choice in a shade similar to Resene Kadinsky.

REEM ACRA Resene Cleopatra

TAORAY WANG Resene Kandinsky

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student life

Alex Larkin AUT

Twenty-one-year-old Alex Larkin has recently completed her degree in Fashion Design at AUT University. Growing up, Larkin has always been intrigued with fashion, art and design. Her mother was an artist which meant creative people always surrounded her, and she often spent a lot of time at art galleries. Larkin is especially interested in evening-wear, she currently works at Felicity’s Bridal on High Street where she is surrounded by clothes she loves.

“I have always known I wanted to be a fashion designer,” said Larkin. “Every area of fashion I worked in made me love design even more.”

Her aim was to be immersed in the industry in every possible way to gain as much experience as she could. During her degree, she developed personal design skills and gained a real understanding of what her strengths and weaknesses were. Larkin explained that the most valuable part of studying fashion was that it allowed her to try things without the fear of failure, which has helped her grow as a designer.

Because of her strong love and admiration for evening-wear gowns, Larkin based her graduate collection on her style of gowns.

The collection featured five gowns, inspired by a trip she took to Switzerland earlier this year. “I took inspirations from the slow and meaningful culture there, and their importance of tradition.”

Traditional evening-wear gowns consist of specific techniques and embroidery which Larkin used in her dresses which are all made from locally sourced silk tulle. Working at Felicity’s Bridal gave her the knowledge of fabrics required, which meant she had a firm idea of what the collection would look like when she started designing.

“While I love collections and designs that have a strong conceptual base, my main goal was to create goals that look and feel beautiful.”

She took most of her inspiration from a quote from the French novel, The Little Prince: “C’est véritablement utile puisque c’est joli.” Which translates to “It is truly useful since it is beautiful.”

These words are embroidered onto one of Larkin’s designs.

Larkin attributes the influence of her designs and the quality of her work to her experiences at Bridal.

Both design and sewing are essential aspects of design and cannot exist without the other. Larkin enjoys designing as it is the phase where she can explore her ideas and sewing brings her ideas to life.

“I feel that being able to sew is such an important skill, which was why I was particularly interested in incorporating embroidery into my collection. Being able to sew allows you to be a better shopper, by understanding how a garment is made, you can choose the best quality and style for your needs,” she said.

When asked about the most significant issue she faces in the fashion industry, Larkin explained that balancing her love of creating with the environmental impacts of producing clothes is challenging to navigate. Hence why she focuses on evening-wear as it is often bespoke and something that people are keeping for generations. Her collection was made with natural fibres which ensure the durability of her quality designs. Focusing on the impact on the environment is naturally imbedded into all her work.

Larkin has completed a range of internships over the years where she has gained invaluable skills that she still relies on today.

Working at Karen Walker showed her the inner workings of a successful brand and has taught her how to grow her own brand.

Larkin is excited to move to Melbourne in 2020 where she will launch her label that will feature made-to-order evening-wear. She currently creates one of her designs for clients but is eager to begin this label full-time and focus all her energy into turning her dreams into a reality.

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Julianna Jung AUT AUT

Julianna Jung was born and raised in New Zealand but growing up Korean in a western country was a challenge for Jung as she didn’t feel like she belonged. “I always felt out of place, but then I learned how to take that as an advantage and just to be me,” said Jung. “I expressed myself through my clothes. I never followed trends or styles, and I didn’t like classifying myself to something.”

Rather than isolating herself from her peers, she embraced her individuality and attributes New Zealand as a significant influence for her fashion. Her family also encouraged her to join the world of fashion from a very young age. Jung explained that as a child, she used to make t-shirts out of rubbish bags with her sister and little paper clothing. “My sister exposed me to artworks and creatives, which allowed me to see things from a different view. However, I knew art wasn’t my thing. But when I started taking fabric class in high school, I felt excited and alive.”

Being able to express herself without having to use words gave Jung the creative freedom she needed to see things from a different perspective. It was ultimately the start of her career when Jung had decided to take fashion seriously. “Ever since, I have never doubted myself with this path and just kept driving through trying to find ways to develop myself as a young designer.”

One of the most valuable things Jung has learned is how to manage the pace of the industry and to fail fast. As everyone works at different speeds and has different morals and approaches, learning not to compare yourself to anyone else is vital in the industry. “If you know what you’re doing and believe in yourself, then you will get there eventually. Never be afraid of your weakness, face it and overcome it quickly.”

Jung’s key to success is trial and error but never giving up.

Attempting to make the perfect pair of jeans took her around ten different toiles to get to the perfect one. This stressful journey was successful as she took the time to experiment and fail fast, which allowed her to learn the new skills and methods needed to achieve her goal. Her inspiration is purely having a purpose to design. Being able to utilise her work as a political statement or create a story around her collection that sparks current social or political issues is what truly motivates her.

Jung’s graduate collection was a series of five different types of boiler suits. Showcasing a unique variety of shapes, fabrics and sleeves.

Based on sustainability, Jung researched and investigated consumption and human behaviours for inspiration. Because she believes that the psychology of how we consume the effects of the way we consume is critical. In response to the fashion industry, creating vast amounts of waste, Jung dedicated her collection to provoke conscious awareness.

“We need to reduce our consumption habits to reduce pollution.

I created five unisex denim boiler suits that are all slightly different in terms of shape and fabric, considering function, durability and accessibility.”

Exploring the ideas of the contemporary world and challenging society’s expectations, Jung’s collection aims to deliver a message on how today’s culture can no longer be persuaded by valueless social status, trends, and mindless consumption.

Regarding the challenges faced in the fashion industry, Jung explained that having a platform for young designers to showcase their work is difficult because the market is small. However, she hopes to open her own store in the future and interact with customers outside of social media.

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Judy Fong AUT

Judy Fong grew up on a market garden with six other siblings and lots of pets. Living in New Zealand and being raised in a traditional Chinese household allowed Fong to live the best of both worlds. She was able to experience two cultures simultaneously, which helped shape her into the woman she is today.

Fashion played an essential role in Fong’s life growing up, she used her experience with sewing as a young child and her current love of op-shopping and revamping garments to inspire her graduate collection.

“I have always been a hands-on DIY crafty person and design was something I enjoyed a lot during school,” said Fong. “I remember when I was younger, my grandmother would always ask me to help thread her needle so she could mend her pants or whatever the family needed fixing. I started to learn from her because I wanted to help the family by fixing their clothes.”

Fong learned how to satisfy her fashion needs by making clothes herself, mainly if she couldn’t afford it. Having a sense of independence by making her clothes made her feel different and confident that no one else would be wearing the same clothes as her. “For my high school ball, I decided to create my ball dress with the minimal skills I had for sewing. I managed to finish just a few hours before the ball.”

Fong received best dressed at the ball, which gave her a sense

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of achievement that led to her following the path of fashion at university.

While training as a fashion designer, Fong learned that practice makes perfect. Her process included initial drawings, creating 3D development to see a realistic portrayal of the garment, and then perfecting the result. “Sometimes it can take me a while because there is a lot of trial and error to get the perfect design, but I always learn from it and can take note of the mistakes made for next time.”

Fong’s graduate collection highlighted five looks based on her concept of a future driven by space and technology. She described that seeing her collection on the runway at the AUT rookie show gave her a sense of achievement and made her feel proud of what she had completed. “I chose to do a futuristic theme because this year marks our 50th anniversary since the moon landing. Although it was a while ago, the possibilities of what can be achieved for our future are endless, the chance of life in space is closely becoming a reality with

the help of technology.”

The collection is bright and bubbly to match the futuristic theme. Fong used soft-medium weight fabrics so they could bring out the structure of the drawstrings and gathers. Using things associated with space and technology to influence the style of her garments, she focused on the visual of space suits and how intriguing they looked.

“Moebius and Josan Gonzalez also inspired me.

Their artistic illustrations show futuristic lifestyles through the lenses of a dystopian and utopian environment.”

Interning as a production and workroom assistant at Miss Crabb also gave Fong the necessary skills and experience needed to pursue her career in fashion.

“This internship exposed me to what the New Zealand fashion industry is like and how a collection can be made. There are so many skills I have learnt and knowledge I have gained, thanks to the amazing Miss Crabb team.”

The biggest challenge Fong faces in the fashion industry is competition. As people have been purchasing clothing overseas, it has unfortunately become an industry based on fast fashion that is cheap, trendy and disposable. “The real idea of fashion being an art and a treasured piece is slowly getting lost, making it hard for people to create their label or even make a career in fashion,” she said.

Despite this challenge, Fong’s experience in fashion will give her opportunities that were definitely not around during the moon landing.

Celeste Watson Whitecliffe College

Celeste Watson attended Whitecliffe College of Fine Arts and Design, where she gained the critical skills and experience to help drive her future career in fashion. Watson grew up in small town Kaitaia and came to Auckland four years ago to seek opportunities and pursue a career in an industry she dreamed about as a little girl.

“I wanted to be a supermodel and fashion designer.

Since then, I’ve gotten to do both things in various ways,” said Watson.

Her brand, Celeste Elena, is a combination of her first and middle names. Celeste in French means heavenly and Elena in Spanish means light, hence heavenly light.

When asked about how she got into fashion, Watson explained that she had been sewing since she was eight years old, using fabric scraps to sew clothing for Bratz dolls with her friend. At the age of 15, she got her very first sewing machine and has continued to make clothing ever since.

“When one of my friends told me about Whitecliffe College and the incredible degree program they have.

I went for an interview with my design portfolio, and I got in on the same day.”

Studying fashion has taught Watson many valuable lessons that will help her progress in the industry.

Knowing how to collaborate and communicate well with others as they will likely be in the same sector

was vital to learn as making connections is the key to building a strong reputation.

Watson’s graduate collection was time-consuming as she naturally hand-dyed 99 percent of the whole collection but entirely rewarding. The collection consisted of bright and beautiful colours derived from natural materials, onion skins, eucalyptus leaves, chamomile flowers, magnolia flowers for eco printing, turmeric and natural indigo dye. The vast range of materials allowed Watson to explore as an artist within the realm of fashion.

She presented six looks on the runway and her collection In Full Bloom: Here I Am. It explores her rural identity growing up and how that transfigures within the urban environment.

“I am not Māori, but where I grew up, close to Kaitaia and Tokerau Beach, Māori culture is richly embedded," she explained. "I feel the love for the Whenua that is spoken of by Tangata Whenua.

Trees, grass, hills, ocean, sand, everything is alive and vibrant.”

She incorporated her passion for the natural world and wanted to bring that sense of nostalgia back into her collection, hence why it was an important practice for her to naturally dye the fabric to ensure her colours have come from the earth.

In Full Bloom: Here I Am used flounces as an element of design to reference floral figures. Watson

describes her style as feminine and floaty, so she tailored her pieces to fit the body and accentuate the waist.

“I will always be an A-line girl. I design for women who want to feel confident and look beautiful, to hold the eye without giving away too much. I like to use high-quality silk satin because like a magpie, I like shiny thing.”

Nature and landscape paintings particularly inspired this collection. Along with the work of Vincent Van Gogh and Claude Monet, Watson wanted to capture colour and movement the way these artists do in their work through small delicate brush strokes.

“The same inspiration they took from nature is what I used to create imprints from leaves and flowers on my fabrics.”

During her degree, Watson has completed three internships where she worked as an usher, dresser, organiser, room assistant and in customer service.

Having so much experience in the industry will allow Watson to further progress as a designer as she holds the various skills and knowledge that will help her thrive.

“I have been taught industry standard construction, pattern making and design, I could step into a sample machinist role, a production or workroom assistant but the number one goal is to launch my own label under a local New Zealand designer.”

Mariam Sacranie AUT

Born in Malawi, Africa, Mariam Sacranie moved to Auckland with her family in 2006. She comes from an Indian family which heavily influences her love of fashion.

Sacranie’s brand is self-titled and dedicated to her grandmother who chose her name and was one of the people that introduced her to sewing.

In Malawi, her grandmother had a tailoring shop behind her house where clients would come and make requests for specific designs.

“My favourite room in the shop was the bead room, where I would often be allowed to take a few beads to make myself some necklaces and bracelets but also get to see them in action,” said Sacranie.

“There was a room dedicated to the embellishments of these traditional garments with these beautiful and intricate designs. This is where my love for textiles started.”

Sacranie’s other grandmother owned a baby clothing company and would sew clothes for Sacranie and her siblings, from a young age Sacranie wanted to learn how to sew and was able to learn just by watching. She started pursuing an interest in fashion in high school, where she became accustomed to the process of creating a garment.

This year was Sacranie’s final year at AUT, where she studied a Bachelor of Design and majored in Fashion Design.

Throughout her degree, Sacranie learned that to love the outcome, you must enjoy the process.

She explained that if people worried less about the destination and more about the journey, it would be a more rewarding outcome.

“With the growing use of technology, we have a need for instant gratification, which causes us to skip to the end, missing the process.”

Sacranie’s graduate collection was selected and given the opportunity to showcase at the AUT Rookie 2019 Showroom. This was a highlight

- Complete Sampling Service Pattermaking - Computerised Digitising & Grading - Computerised Marker Making - Sample cutting with Fabric Estimates - Sample Making - Production Runs - Production Cutting

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14 I December/January 2020

for her as she could celebrate her growth with her classmates.

Her collection consisted of five looks which each featured three to four garments. It was based on the concept of escapism where she focused on the dark and angst emotions that people have when they have an urge to escape reality.

“My inspiration for the emotions was driven from the stories of many old Hollywood celebrities and their urge to escape the reality of the pressure of being in the public eye.”

She portrayed this using texture and transparency throughout the collection to show the positive and negative side of human emotions concerning escapism. Sacranie often draws inspiration from her everyday surroundings, like films, podcasts and the news.

Sacranie enjoys designing as she appreciates the process of putting together an idea for a collection which involves research, planning and designing.

However, she also enjoys the sewing aspect of design as it brings the clothing to life.

She currently works at Ruby as a workroom assistant, her role involves sample cutting as well as assisting the workroom team with fixing faulty garments and preparing orders to be sent to the machinists.

The ethical element of production in the context of fast fashion and consumerism is what Sacranie sees the biggest challenge in the fashion industry. Despite the growing discussion on making ethical decisions, the industry needs to implement changes and take action to make a difference.

Sacranie believes convincing many fashion brands and consumers to take more ethical steps in not only choosing slow fashion as a concept but also adopting a more sustainable lifestyle is a productive approach to addressing this issue.

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