Apparel Magazine | December/January 2021

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DECEMBER/JANUARY 2021 I VOL 53 I NO 12

editor ' s note

swatch watch

FASHION IS BUSINESS WITH ITS OWN RULES The time when getting into the fashion industry was a case of the self-taught starting their own label has pretty much ended. Those entering the industry need to have all the skills at their fingertips. To not only have the ability to design but to understand the structure of a garment and also the ability to run a business, most notably to understand margins.

The old pioneers of fashion who developed labels that have become an integral part of the global industry's heritage were inspired to bring a whole new world of design to the masses through couture or ready to wear.

However, these days it is more often than not that we see contemporary designers borrowing from what has gone before. Stand out new designs that are original in thought and design are few and far between.

Fashion is business, with its own rules. The glossy facade which is promoted through celebrity, influencers, social media and magazines hide a gritty hardcore.

Modern trends in fashion include a bold commitment to sustainability as consumers look to those labels that support the planet rather than take from it and that comes at a cost that the masses are just not buying into as fast fashion continues to thrive over slow.

Perhaps the most important requirement is a passion for the industry. Passion is reflected in the inspiration and dogged determination to succeed in this very challenging business. Students coming into the industry need to have a healthy reality check and not go into the industry because Mum says they've been sewing their dolls clothes since babyhood. Creativity should

be embraced but along with it a cold hard look at the business of fashion. Teaching upcoming designers to be eco-friendly, conscious of sustainability, and the environmental issues around production is a must in all curriculums.

We have seen a lot of graduates over the past ten years or so waste their end of year events, showcasing creativity at the expense of how the line would morph into sales, or which market the designs would appeal to. Deeper learnings around market identification, pr/marketing, communication, sustainability and straight out business nous will lead the students of the future to a better, more sustainable career in the industry.

Fashion is business; at its core, it is cyclical, and that means that resilience is the most important skill of all to have.

CHAIRMAN

PUBLISHER ADMIN/SUBSCRIPTIONS EDITORIAL DIRECTOR EDITOR EDITORIAL ASSOCIATE CONTENT MANAGERS GRAPHIC DESIGN TEAM

100% MERINO – WHISKEY

tania@reviewmags.com PS You'll have noticed a change in editor this month as unfortunately, Caitlan is on medical leave as she has fractured her back in an accident.

Thank you for the messages of support, and we all wish her well for a speedy recovery and to see her back at her desk as soon as possible.

Peter Mitchell Tania Walters - tania@reviewmags.com Kieran Mitchell - kieran@reviewmags.com Sarah Mitchell - sarah@reviewmags.com Caitlan Mitchell - caitlan@reviewmags.com Janet Guan - janet@reviewmags.com Caroline Boe - caroline@reviewmags.com Raymund Sarmiento Debby Wei

2 I December/January 2021

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ON THE COVER

Photographer: Felix Wu Designer: Yafeng Tang Model: Alina Alexandra Aciu

DOUBLE GAUZE – DUSTY GREEN/PINK

ISSN 1171-2287

Suite 9, Level 3, 20 Augustus Tce, Parnell, Auckland, New Zealand PO Box 37 140, Parnell, Auckland, New Zealand +64 9 304 0142 This magazine is published monthly under license. Please direct all enquiries and correspondence to Review Publishing Co Ltd. This magazine is a platform for the industry and may include content that expresses views and opinions by contributing writers. Content is attributed to the author, and these opinions and the view/s are those of the author/s. They do not necessarily reflect the official policy or position of any other agency, organisation, employer or company. The opinions and material published in this edition are not necessarily those of the publishers unless expressly stated.

All material appearing in the magazine, website and social media platforms is copyright and may only be reproduced with the written consent of the publisher. Copyright 2020

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94th edition

11 14.12.2020 Riva del Garda - Italy

fast five

BILLBOARDS ARE THE NEW RUNWAY Following the postponement of New Zealand Fashion Week 2020 due to COVID-19, Kiwi bridal designer Trish Peng has found an innovative way to showcase her new collection.

This year Peng is forgetting the runway and, in a New Zealand first, showcasing her designs on the mega-scale, via virtual billboards.

"With the wedding season well underway and without the audience

we normally get from New Zealand Fashion Week and seasonal runway shows, we thought a better way to show this year's collection is on giant Lumo Digital billboards," explained Peng.

Peng's billboard campaign is now live, with a selection of designs from her newest Entwined collection, featured on 10 billboard screens around Auckland CBD for seven weeks.

THE QUEST TO STAY GOLD From Thursday 10th 24th December, artist and founder of clothing brand Federation, Jenny Joblin is hosting the exhibition "The Quest To Stay Gold" at Commercial Bay. The quest is to stay gold, stay authentic, find the good and be kind. This thought and train of exploration have been on Joblin’s mind for most of the duration of this year.

The thought of not seeking

gold, but to be gold. Be of value as a person, not in things. This has become the title and focus for a lot of the exhibition.

Teaming these pieces with some Federation garment prints that have been developed from Jenny’s original paintings in the last few years. Including a collection of pansy prints and some long-time iconic ones too.

The original pieces will be available for purchase alongside the option to have as a print.

KIWI TECH START-UP CREATES EXPORT OPPORTUNITIES FOR SME'S & RETAILERS A new freight consolidation service is set to make it easier for Kiwi retailers and SMEs to enter export markets and remove the need for intermediaries.

In a first for the country, start-up business Jetkrate will offer a small parcel, freight consolidation service which allows consumers to purchase goods from Kiwi businesses and have them shipped to an Auckland address - where they are repacked and sent as one package to any offshore market.

The new service aims to replace the daigou (personal shopper) channel which uses personal shoppers to purchase commodities from local retailers and ship them to customers

4 I December/January 2021

in China as well as reduce the cost of freight for ex-pat Kiwis living overseas.

This new consolidation service removes the shipping barrier and makes it easier to get goods overseas once purchased - that allows the retailer to concentrate on building confidence levels across their customer base.

Jetkrate's consolidated shipping model could save consumers twothirds of the costs of shipping items individually.

There are currently 1,000 customers registered to use their service within the first three months of soft-launching the site.

GLOBAL ACTIVEWEAR MARKET TO REACH $353.3 BILLION 2020 has been a rollercoaster year for a good number of industries and activewear is no exception.

WELLINGTON'S FIRST DR. MARTENS STORE Dr. Martens, the iconic global brand known for its authentic belief in individuality and selfexpression, is finally opening in Wellington just in time for the festive season celebrations.

As of Saturday the 19th of December, Wellingtonians will be able to go to the newly opened Cuba Street store to buy their very own pair of Dr. Martens.

A wardrobe staple for many in Wellington.

The Dr. Martens store will offer the largest range of men’s, women’s and kids’ styles available in New Zealand including Originals, Made in England, full vegan ranges, global collaborations, and

accessories collections.

"Dr. Martens introduction into our country’s capital is a match made in heaven. The distinctive ‘stand out from the crowd’ theme of Dr. Martens will be well received by the Wellington market and its placement on Cuba Mall couldn’t be more suitable.

The store will offer customers an extensive range of Dr Martens products not always seen in the local market and we are excited to get Wellingtonians proudly wearing them."

Dr. Martens has a loyal customer base, and this will be New Zealand’s 2nd Dr. Martens store.

According to the research data analysed and published by Comprar Acciones, the global activewear market is expected to be worth $353.45 billion in 2020. It is projected to have a 3.7 percent compound annual growth rate (CAGR) between 2020 and 2026 to reach $439.17 billion by the end of the period.

Key players in the activewear space are adapting to change consumer trends by embracing direct-to-

consumer sales online.

Top activewear brands are also embracing the thriving athleisure trend. According to NPD, athleisure sales in the US will account for 31 percent of total apparel spending during the holiday season. The figure is up from 26 percent in 2019.

In Q3 2020, Old Navy’s activewear segment surged 55 percent. Athleta, which deals in female workout clothes had a 35 percent sales increase.

However, Banana Republic which specialises in work apparel had a drop of 34 percent in net sales.

apparelmagazine.co.nz

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student life

LISA SONG WHITECLIFFE

T

alented designer, Lisa Song, received the Apparel Magazine award for Sustainable Practices and Handcraft Techniques at the Whitecliffe Fashion Show for 2020.

She showcased her AW21 collection named Synepeia which was inspired by Greek mythology.

Synepeia AW21 “Synepeia, which means consequences in Greek, reflects my concern with how modern humans need to face the consequences of their actions and the impact this has on our living/lived environment.

The first of the Greek myths that inspired this collection is the story of Icarus, who flew too close to the sun despite being warned not to do so and therefore falling to his death when his wings melted.

This is a story about willful ignorance. The story directly relates to the sun, speaks loudly of global warming and the lack of action taken by industries to curb the practices that contribute to heating the planet.

Hades, the god of the underworld, and Persephone; the goddess of vegetation and also a daughter of the goddess of agriculture, speak to the origin of the cycle of seasons and the delicate balance between the underworld and the overworld. Industrialisation and the depletion of natural resources threatens a permanent winter, where Hades’ underworld emerges to dominate and ultimately overcome the overworld, resulting in devastating consequences.

Phaethon disobeyed his father’s warnings when driving the sun chariot by using the whip on the horses, causing them to run amok and fall to the ground, burning and destroying the crops and villages all around. The willfulness of Phaethon is reflected in our human drive to push on, despite the warnings offered by nature, that ultimately we are intertwined, and if we destroy nature we ultimately will be

destroyed as well.

These ideas are shown through the appearance of the garments where smocking and gathering are tightened and relaxed throughout the design.

Asymmetries are introduced into the designs to remind of imbalance and its possible discomforts.

When allowed to flow between each other in a balanced way, opposing forces sustain creativity.

As a designer, when I try to control things too tightly, the creative process becomes restricted and this parallels the way in which humans have asserted total control over the natural world. The collection is made of biodegradable fibres and is highly crafted using the mindful practices of hand sewing and hand dyeing with natural materials to provide time for reflection, creating garments that are long-lasting and cherished. The gold and olive colour fabrics were hand-dyed by myself with onion skins.”

About Lisa…

Lisa was born in Seoul, Korea. She spent her childhood in two different countries, New Zealand and Korea, moving to one another every couple of years. Her parents took her on their oversea travels since they believed the power of seeing and experiencing other cultures and people was important.

Spending her childhood in different countries gave her the experiences of different environments and the ability to be open-minded.

The inspiration behind Synepeia sparked from her visit to Greece and her memory of reading Greek mythology when she was younger.

“I was always into something visual, quite obsessive with little things and liked to build a meaningful relationship with objects. Having another dimension of encounter with everyday things helped me develop my artistic aesthetics,” explained Song.

Photography by Michael Ng. With thanks to Vanity Walk Models, Red Eleven Model Management and Bintang Models and Management.

6 I December/January 2021

For Song, fashion was more about the materiality than the architecture.

“I love seeing where the fabric and the materials take me, designing and working along with the materials rather than seeking for a set answer. The most important thing I have learnt through the fashion course is that every step of the process is important, every experience is precious.”

Further, Song has learnt a lot about sustainability, and the impact of the fashion industry has on the environment, the future of us humans and how we can do our part to change the industry and the world.

Song previously worked at Designer Wardrobe as a quality controller. Her job was to quality check and repair garments when needed. This allowed her to come up with creative solutions to fix pieces with limited resources and time, whilst also allowing her to learn more about retail customers and their needs.

“The biggest challenge I see in the fashion industry for me now is starting up a brand with no connections but just with passion and love for fashion. However, I believe the opportunities come when I’m doing everything that I can, catching every small opportunity of experience. Volunteering, unpaid interning, watching shows, seeing as many things as possible.”

Song’s plan after she graduates is to launch her own brand and to run her own business so she can express her artistic self. Song has already begun the first steps of launching her label; CYLÉE (pronounced seelay, a combination of her parent’s initials).

The vision for CYLÉE is that it will focus on slow fashion and will only use organic and natural-fibre fabrics. Further, it will celebrate the free and boho vibe, whilst incorporating elegant designs.

Song plans to take her creations online, starting with one-off garments made by hand.

student life

SIMONNE DENHAM WHITECLIFFE

S

imonne Denham is a Whitecliffe Fashion Tech 2019 graduate. She has always had an interest in fashion and loved dressing up in her mother’s clothes. After leaving school, Denham worked under a personal stylist in Auckland for two years, in the hopes to kick off her career in the fashion industry. However, due to the pressures of needing a ‘qualification’ or a ‘real job’, she enrolled at university to study Health Science.

With only a few weeks in her Health Science course she quickly realised it was not where she was meant to be.

“I didn’t want to devote my time and money into something I wouldn’t love, so I decided to take a risk, pulled out and applied to study at Whitecliffe Fashion Tech,” explained Denham.

She started her course at Whitecliffe with no sewing experience and felt very behind in her first year.

However, in her second year, her confidence grew immensely, and she was ready to dive into the world of patternmaking.

“I’ve learnt so much on my journey to get here, but one of the biggest lesson’s is; don’t be afraid to take risks, always push yourself and work hard.”

Denham believes that everything you do in life has the potential to become an opportunity. You never know who you are going to meet and what impression you are going to make. That’s why Denham always gives her best with a smile on her face, no matter how big or small a project may be, and no matter who it may be for.

Denham further advises others to always have the willingness to learn, and to do so with humility and kindness.

“For me, it’s about so much more than money; it’s about gaining the experience and knowledge that will take you a long way, you just have to have a willing attitude.”

This year, Denham has had the opportunity to work with a couple of local designers who have shared a wealth of experience with her and have inspired her with her own journey.

Denham is currently in the process of launching her own namesake label, which will be a continuation of the elegant and simple designs seen in her end of year collection, MINUTIAE. Photography by big mark & co.

8 I December/January 2021

www.pania.co.nz

pania@pania.co.nz

student life

ANNMARIE WILLIAMS WHITECLIFFE

A

nnmarie Williams is born and raised in South Auckland. Samoan, one of five kids, and an aspiring creative who is trying to find her niche in the fashion

industry.

Williams’ brand name is MOTFAW which is derived from her initials. It came to life back in 2018 when she showcased her menswear brand at the Pacific Fusion Fashion Show. Williams’ has always had a connection with fashion through her childhood. Fashion has given her a sense of independence and freedom to express herself.

One thing that has stood the test of time for Williams’ since graduating from Whitecliffe, are the skills that she has learnt and continue to learn and grow from. Completing her diploma in Apparel and Fashion Technology was the best foot forward for her in her opinion as it gave her the confidence to follow through in the industry.

Photography by big mark & co.

10 I December/January 2021

Her graduate menswear collection played with bright colours and outerwear looks for Fall.

“I wanted this collection to be fun, wearable and relatable.”

In general, menswear is something rather ‘simple’.

Williams’ aims to highlight more areas within menswear that can be explored.

Alexander McQueen is one of the designers that inspires Williams’ work.

“His stories were weird, original, frightening, and intimate. I always try to be authentic and honest with my work, and I saw myself in him and how he told his stories.”

Since Williams’ first year of study she has taken on multiple internship opportunities. Her favourite internship has been hosting the New Zealand Fashion Museum exhibit at Smith and Caughey’s and working for Doris du Pont.

The biggest challenge for Williams’ within the

industry is opening herself up to network with people while trying to find connections that helps her get through the door.

“Every experience is an opportunity, I work hard whether I’m paid or not, and I let my work ethic speak for itself.”

Williams’ would love to sit down and hash out all the details of properly launching her brand.

“My gut feeling is telling me to just do it, so watch this space,” she explained.

Williams’ is currently working on production and garment alterations with a few New Zealand brands.

Her goal is to start a new collection and collaborate with a New Zealand brand in the future.

“It’s never too late to start a passion. Just do it and don’t look back. Be kind to others and especially yourself. Studying is hard, but it’s a rich experience when you are in the job,” Williams’ advised.

MICHAEL-LOUIS BARLOW WHITECLIFFE

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arlow spent his childhood and teenage years in Thames, fairly sheltered from the world of fashion. Barlow found his passion for sewing in fabrics class at Thames High School under Raewyn Grey. Throughout his school years he made many garments but was particularly drawn to creating coats and jackets.

In 2017, Barlow packed up his life and headed to Wellington to start his journey at Whitecliffe. During his first year, he had the dream that many fashion design students had – to start their own label. Buying custom labels for his assessments and toyed with the idea of starting his own label. However, he realised that he ultimately wants to just sew and create, sans the business-side of starting a label. Thus, although starting a label is not on the cards at the moment for Barlow, it does not mean it’s not something he will look into again in the future.

Through his three years of study at Whitecliffe, and now working with Wellington designer, Zowie Dee, he has learnt the most important thing in this industry is to be adaptable.

Photography by big mark & co.

“Things don’t always go to plan, and there are times that you have to find creative solutions to a problem.

Sometimes the path ahead is clear, and other times it is not, and being adaptable can save your skin.”

In Barlow’s first year, Zowie Dee offered him a sewing trial, and then eventually a job in her workroom. Zowie Dee has been Barlow’s mentor and has given him the opportunity to hone his skills with bridal dressmaking, altering and tailoring.

“Under her guidance, I have been able to grow and expand my skills, and, we have exciting plans for the future.”

Barlow has always thought of breaking into the fashion industry as a challenge, but now he feels like he has the potential to break into the industry, he is just in no rush just yet.

“When the time comes, I want to have experience on my side, and experience only comes with time, patience, practice and most importantly, perseverance.”

For Barlow’s final collection, he designed a sevenpieces, three outfit menswear mini range under the name ‘Invasive Action’.

“This was a military style range, made because it was important for me to be true to myself, and to create looks that I would whole-heartedly wear myself.”

Menswear and tailoring are where Barlow’s passion lies.

“Military style spoke the word ‘confidence’ to me and that’s what I have worked for; to be confident within myself, my own skin, and my abilities.”

2021 will be a year of reconnection for Barlow.

Reconnection with his culture, his Whakapapa, his creativity, Te Reo and Te Ao Maori.

“To start along my reconnection journey, I have been learning Te Reo Maori through books and other resources and have enrolled at Te Wanaga o Aotearoa next year.”

Barlow hopes to bring more of his culture into his work and designs. The first step is to learn and understand the significance and meaning behind each idea.

“I would never want to do a disservice to anything my ancestors believed in and practiced. We all have a journey in life and mine is only just the beginning.”

student life

KATHERINE JACK WHITECLIFFE

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achelor of Fine Arts, Fashion and Sustainability graduate, Katherine Jack, has always had a passion for the fashion world since she was at a young age.

“My parents like to remind me, maybe a little too often, of a story where I had my first ‘fashion meltdown’, you could say, at age 3, because I was adamant on choosing my own outfit for kindergarten,” said Jack.

Fashion has always fascinated Jack her whole life, she recalls looking at clothes and seeing beyond the finished product. Jack wanted to know how to make the clothes and the ins-and-outs of construction.

“Clothing can be so much more than just a necessity.

It has the power to transform you, to uplift a mood and give the wearer confidence. Fashion has always been this for me, and I hope I can design clothes that empower others to feel the same way.”

Through her studies at Whitecliffe, Jack realised how

important it is to stay grounded and have a clear focus as a designer. Having a clear focus vision is what you want to express through your designs.

“It took me a while to realise this, but when I did, I felt my designs really reflected who I was as a person, and my personal style rather than what may have been on trend at the time.”

Jack is always inspired by the natural world – especially the ocean. She has always been a huge lover of the beach, the textures and the details that can be found and, the nostalgic salty smell that transports you back to fond memories.

“I always say that I feel a connection to the ocean, and that is something I really try to carry through my collections.”

Jack’s graduate collection, Life Below, aims to shed a light on coral bleaching. A devastating result of environmental destruction. It is a symbol of time where

Photography by Gab Stoddard.

With thanks to Vanity Walk Models, Red Eleven Model Management and Bintang Models and Management.

over consumption and disconnect from our beautiful plant has reached tipping point.

“I really believe that for us to take the natural world, whether that be physically or emotionally, we need to give back and create a harmonious relationship, free of exploitation.”

A neutral colour palette to represent bleaching was an important part of expressing these ideas for Jack.

Alongside this, she focused on tailoring techniques and fabric manipulation to combine the two prominent physical features of a reef; hard and soft corals.

Sheer floating fabrics were used to create a sense of spirituality to convey Jack’s personal experiences and feelings. Jack also incorporated a peach knitted dress in a bright and vibrant colour to uplift the collection.

“I really believe that together, we can make a change.

Connect deeply, live consciously and seek harmony with our precious natural world.”

student life

ANNA VIDAL FRUGONE WHITECLIFFE

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nna Vidal Frugone began her fashion journey at a very young age.

From fashion sketches to helping her mother and grandmother, both who have always enjoyed making many of their own garments and taught Frugone how to sew.

Frugone studied in Barcelona for a year before she moved to New Zealand to continue with a Bachelor of Fine Arts with Honours at Whitecliffe.

Last year, Frugone interned at Rue de Seine, an international bohemian bridal company. She was part of the cutting support team, checking for flaws on fabrics as well as contributing to the final quality control checks before shipping.

“I learnt about the importance of the small details in the finished garments, and also learnt a lot about the inner workings of a professional atelier,” said Frugone.

In 2018, Frugone received the New Zealand Prime Minister Scholarship for Asia, which allowed her to travel to India with 11 other recipients from Whitecliffe. She visited local artisans and learnt about traditional crafts and sustainable practices.

“The experience helped me develop a new awareness about the value of these crafts and the importance of sustaining traditional practices.”

It was not until Frugone was studying at Whitecliffe, did she realise that the fashion industry was responsible for 10 percent of annual global carbon emissions whilst 80 percent of the garment’s ecological impact is determined at the design stage. This meant that we have many opportunities to induce a big change in the industry.

“We all have to shift our mentality and start thinking about the ethical and environmental impact of our actions, not only on our everyday lives, but also on our fashion practices. As wearers, we have an obligation to consider the well-being of the makers of our garments, by investing in long lasting quality pieces we are rewarding the expertise and skill of the designers and makers.”

After studying at the leading institute in sustainable fashion, Frugone believes that being knowledgeable about the different ethical and sustainable practices will prove to be a very useful and employable asset during this time.

In Frugone’s Honours project, she has explored the themes of craft, value, memory, and storytelling. Central to the design of this collection was the upcycling of her mother’s wedding dress which has been distributed throughout each of the pieces.

“I have embroidered over this significant fabric, with the intention of leaving my trace on the textile, infusing the process with a personal narrative while highlighting the value of craft and the art of making,” explained Frugone.

Frugone believes that all garments have a story to tell, hidden in the wrinkles, stains, tears, a physical record of the body’s inhabitation.

“As a way of including these markers into my garments, I used a fabric furrowing technique to create swirling folds and crests that simulate wrinkles, embroidered patterns that echo natural wrinkles, as well as simulating small holes and symbolic stains.”

Further, Frugone makes the effort to continue and elevate the importance of handcrafts and sustainable slow fashion practices. To do this, she has hand embroidered, hand gathered ruffles, and hand sewn parts of her garments, thereby creating durable garments that can accumulate history and value for many years to come. To reduce environmental impact in the production of her collection, Frugone incorporated specific making techniques and ensured minimal waste was produced when cutting. Moreover, she used silk fabrics and cotton thread, making the collection 100 percent compostable.

The experience helped me develop a new awareness about the value of these crafts and the importance of sustaining traditional practices.

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ANGIE LI WHITECLIFFE

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ngie Li has graduated this year with a BFA Fashion and Sustainability degree at Whitecliffe. Beauty in all its forms has always fascinated Li, and fashion shows left a lasting impression on her when she was just a kid.

“It was like magic, to bring fantasy and fairy tales into reality.”

Learning about fashion and art enabled Li to appreciate beauty in many forms. With her in-depth studies around fashion and sustainability, Li noticed that fashion can be a powerful force to express hope in making the planet a better place.

Through her studies at Whitecliffe, Li now understands the importance of sustainability and how valuable it is. The course opened up a new perspective for Li and gave her a deeper understanding of the concept. She applies what she has learnt within her design practice. Turning creative ideas into reality and having the ability to appreciate both art and fashion

has been paramount in her journey at Whitecliffe.

In Li’s graduate collection, it is filled with frills and ruffles of all different sizes, silhouettes, shapes, and layers. These repetitive yet different styles of frills aim to represent the inner trauma we all have inside.

“The pain of trauma that is so similar yet so different, it becomes a unique part of us,” explained Li. “I hope that these broken and renewed emotions will make us unique and charismatic.”

Li used mud dyed fabric as it creates a unique texture once it is washed. The dark hue it is in also represents and expresses ‘heavy’ emotions.

For the frills, Li chose lightweight silk organza and natural tie-dyed silk stain to form a contrast to dilute the overall heavy mood.

“Some frills seem to restore the shape of wonders and express the beauty of healing. I hope to convey a dreamy perspective to calm the real pain.”

Li received the top Year Three Research and Design Portfolio Award and an internship at Hawes and

Freer. During her internship, she learnt more about the supply chain side of fabrics, daily operations of business and the challenges and opportunities textile companies faced due to COVID-19. The spirit of collaboration between local businesses also became apparent to Li during this trying time.

As a Chinese growing up in New Zealand, Li has a unique perspective of mixed cultures and a deeper understanding of the Asian market.

“I am looking forward to developing the concept of sustainable fashion as my brand philosophy, and I hope to use my Chinese background to convey the concept of sustainability to Chinese consumers.”

Li believes that the more people that understands the importance of sustainability, the more benefits we get as consumers as well as for the planets.

Upon graduating, Li hopes to set up her own brand and website, whist also connecting with other fashion graduates and students and also those within the local fashion industry in New Zealand.

With thanks to Vanity Walk Models, Red Eleven Model Management and Bintang Models and Management.

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student life

MEGAN KING WHITECLIFFE

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riginally from Whangarei, Megan King comes from a family of makers. She learnt to sew from a young age and enjoyed spending her childhood in her mother’s sewing room. Once she hit intermediate, she started entering wearable art competitions and swiftly moved on to dressmaking.

Studying at Whitecliffe was a natural progression for King, as she was impressed with their long list of successful graduates.

Studying fashion and sustainability has opened King’s eyes to the change the fashion industry needs.

“We have lost all connection to planet and people through our clothing, and we don’t even know what we are buying. I believe that high-quality, well-made clothing should be more appreciated and understood by everyone,” expressed King.

King aims to communication this message through her handcrafted collections.

“I have a love for creating beautifully made clothes with attention to finishings, the little details such as shell buttons, loops or piping can elevate a garment and make it unique.”

King’s graduate collection, ‘Ecology’ aims to connect people back to nature and give back to plant life. The collection explores the circular cycle of growth, regeneration, and adaptation that plant life lives by. It focuses on the circular interconnected cycle of growth that the plants illustrate and how it can be applied to human lifestyles and clothing, whilst changing the current unsustainable fashion industry.

‘Ecology’ is designed to be circular and closed loop. For King, this meant more than just not impacting the natural world negatively. She wanted her collection to aid growth and regeneration in plant life through making a fully compostable collection. It gives back to nature using an indigenous mindset of humans being one with land and nature.

To create a fully compostable collection, King had her fabrics naturally dyed with madder root, indigo and weld, as well as using fully natural fabrics and finishings. This meant King had to stay away from convention trims and fastenings like zips. Her techniques included French seams, binding, and lining.

After King’s graduation, she plans to expand on her ‘Ecology’ collection with more classic and wearable pieces.

“I think sustainable, ethical and well-made fashion should be far more accessible. I want to achieve this through my future lines making beautiful clothes is my passion, I wish to share my designs and skills with people who will cherish and love my clothes as much as I do.”

Photography by Gab Stoddard.

With thanks to Vanity Walk Models, Red Eleven Model Management and Bintang Models and Management.

16 I December/January 2021

YALIN SUN WHITECLIFFE

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alin Sun is currently in her final year of a Bachelor of Fine Arts degree majoring in Fashion Design and Sustainability at Whitecliffe. Her 2020 collection titled Back to Black is inspired by the film, Hidden Figures.

The film tells a story of three black women and their experiences with discrimination and differential treatment in American society in the 1960s.

“I admired the three main characters for their unconquerable spirit, and the theme of gender equality was foremost in my mind while watching the movie,” explained Sun. Sun’s entire collection utilises black and white as the main colour palette. She also prefers to work with a slimmer cut as opposed to a looser-fit suit as it not only shows the structure of the suit better but is also able to show off the natural curves of a woman.

Sun created ruffles from a cotton organza fabric.

Cotton organza feels like paper, which allows the ruffles in her work to showcase a more defined silhouette.

A designer that Sun is most inspired by is Yves Saint Laurent. Laurent changed the way women dressed by incorporating masculine elements such as trench coats and pants into the language of feminine tailoring. Sun also takes interest into Dior’s Spring 2017 collection. This collection demonstrated a different way of interpreting women’s rights. Power is conveyed through an external image that is visually striking. Dior’s visual story provides Sun with a new perspective.

Compared to previous years, this final year, Sun has felt the most creative she has ever been.

“I have been willing to take the time to explore deeper things. Sustainability is the future of fashion, and Whitecliffe has taught us what it means to be sustainable.”

Sun’s highlight of her course was the Whitecliffe Fashion Show for 2020 as it was a culmination of the theoretical knowledge and technical skills that she has obtained over the past three years of study.

In the future, Sun hopes to open her own store.

She plans to participate in more competitions and to sell online at the same time as a way to build her reputation before taking the plunge to launch a physical store.

With thanks to Vanity Walk Models, Red Eleven Model Management and Bintang Models and Management.

student life

OPHELIA KINGDON WHITECLIFFE

F

rom Auckland, New Zealand, Ophelia Kingdon found herself in fashion by accident. Fashion has always been something Kingdon wanted to do, but for a long time, she couldn’t picture herself pursuing studies towards it. After dancing around a few ideas, she decided fashion design would be her best bet.

Her latest collection is based on the inconveniences of life, and the minor disruptions that occur within the everyday that we often do not notice.

“I like when things don’t go according to plan and having to make do with what I can find around me in terms of materials,” explained Kingdon.

Her label, Polly Proper Lean, is a personification of

occurrences, and interpreting the banal, trivial, and even unfortunate happenings that occur in everyday life as something of value, and as their own entity.

The label proposes a space where the vexatious can be constructive, and perhaps even beautiful.

This concept is portrayed through Kingdon’s choice of fabrics and how they interact with the body.

“The clothes are not necessarily comfortable. They are constructed to be in constant conversation with the wearer. I suppose this particular collection goes against what clothes are generally supposed to be.”

This collection is inspired by everyday life and objects and events that are often overlooked. Polly Proper Lean is a philosophy on how to approach the

small hindrances of everyday life, and rather than seeing those things as something negative, to see those things as a point of inspiration and an opportunity to change direction.

“My love of fashion design didn’t really come from any particular aesthetic or designer, but rather seeing people dressing to the absolute max… I love when people totally commit to a certain way of dressing.”

Kingdon has a few projects in the works for the future. Polly Proper Lean is not just clothing, but a research project and definite exploration of Kingdon herself.

“I’m really excited to continue exploring what I started this year, it’s very special to me.”

I like when things don’t go according to plan and having to make do with what I can find around me in terms of materials.

With thanks to Vanity Walk Models, Red Eleven Model Management and Bintang Models and Management.

18 I December/January 2021

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student life

MILLY MCHARDIE AUT

M

illy McHardie is a fashion design graduate from AUT. She grew up in Hamilton but is now in Auckland with her family. During her time at AUT, she learnt the importance of taking risks when using an experimental approach to your work.

This means, accepting the fact that working in new ways means there is no guaranteed outcome, and the only way to progress is to keep pushing forward. Although the outcome may not always be what you expect, it allows for unexpected and new results to arise as well as valuable lessons to be learnt.

McHardie’s graduate collection, Creature Comfort, is a unisex line that explores the rise of dressing for comfort as a result of COVID-19, through the sustainable lens of upcycling. The humble tracksuit, alongside sweatshirts have become a staple for many, now more than ever. Creature Comfort celebrates these basics, giving them a refreshed and fun twist.

The collection takes reference from chav culture in the UK, different traditional patterns used on garments, as well as different types of traditional embroidery stitch. The collection was made from wholly second-hand materials, apart from the threads that hold the fabrics together.

“Personally, I buy the majority of my clothing from op-shops, so I am aware of the vast amount of materials available, from scrap fabrics to old woollen blankets. The red and blue shell suit was made from two tents, reworked to form the argyle pattern.

The sweatshirt and shorts were made from old crochet blankets, hand-sewn onto bedsheets, using a traditional Japanese hand stitch technique called Sashiko.

“The making of the fabrics was the core element of my process, with the hand-sewing in particular taking approximately 130 hours in total.”

In general, McHardie is inspired by the times she

catches herself the least stressed. When she is living in the moment.

“Inspiration can come from many things; a music festival, a random show on Vice, a movie, a conversation with friends and family, or even an Instagram post,” explained McHardie.

“Although some of these moments inspire me directly, many have an influence that I don’t even realise, which I believe happens to us all…I think it is a great excuse to do what you love and indulge in an array of experiences, as it will inspire and influence you whether or not you notice it.”

The concept of creativity has been important to McHardie since her childhood. Through art, music and her upbringing in a creative family, fashion design became a natural extension of her creative spirits.

“It was a way of creating that I felt I truly connected with, alongside my love for dressing up and purchasing second-hand clothing.”

McHardie studied a double degree of fashion design and business. She felt it was important to understand the practical side business as she would like to start her own brand in the future. McHardie decided to focus her studies by choosing a sustainable enterprise major.

“The reason I chose the sustainable enterprise major was that I not only want to be sustainable in my designs, but also the way in which I operate and make a living if I start my own brand.”

McHardie currently operates a small second-hand clothing store on Instagram called Locker where she op-shops for her followers. After she graduates, she hopes to continue her second-hand store, as well as create gorgeous pieces with second-hand fabrics she has collated over the years.

DAWEI GUO AUT

D

awei Guo came to New Zealand to study from China when he was 14.

Life as an international student in New Zealand has been interesting for Guo as he came from a small city in China, the change was drastic and challenging to say the least.

Guo is currently preparing his design studio along with an online shop on Instagram and Wechat. He hopes to sell unisex clothing as well as some Chinese designer pieces for his customers.

When Guo was young, his parents were busy with their business, so his grandparents took care of him.

His grandmother was always sewing.

“I remember she made me a shirt, I got to choose what fabric I liked, and she even made me shoes!”.

Guo has always been involved with art, he attended art classes, he learnt how to make ceramics and create toys using various materials. Creating was what he enjoyed the most, so he knew he wanted to continue with something creative when he went to University.

At first, Guo thought that studying fashion at University felt superficial to him, however, he soon realised that art can be manifested in many different ways and fashion was just another area for him to

express his creative side.

Through his studies at AUT, Guo has improved in his time management skills.

“I have a four day rule – which is to always finish four days before a project/garment is due. These four days allow me to review and check that the work is to the standard and look that I want it to be.”

At AUT, students work in a studio environment.

This allows students to support each other during their making processes.

“I learnt that helping each other and learning from each other helped each of us to achieve our goals. I give thanks to those that helped me and gave me feedback and advice.”

Guo’s graduate collection is a menswear collection consisting of five different looks. The garments are based on his own personal feelings and memories.

All fabrics are sustainable and have incorporated natural dyeing techniques within.

The aesthetic of this collection is inspired by the memories of Guo’s hometown, Xin Xiang in China.

He often thinks about his small hometown that he has left behind. Looking at his own photos from Xin Xiang, images of undone architecture, and the places he used to love when he was younger, as inspiration.

“Each year, upon returning home, I would take more photographs. The memories in these photographs are complicated and silent.”

Guo’s vision for this collection was to portray a feeling as if you were looking at the world through a small crack or a silent corner. An outsider’s version of what was in front of them.

This vision stems from the way Guo acted as a child. Guo and his best friend were anti-social and didn’t fit in.

“As a response, we chose to look at others in a quiet way, we peered through the door cracks, or watched behind those undone buildings. We were afraid to connect with the other kids because we were obviously different.”

For this project, Guo wanted to provoke a memory of a time that was crucial in his creative development.

“It felt very intense, this is a part of me, but I cannot turn back to it,” explained Guo. The collection is called Qiao Guan which translates to ‘Silent Watch’.

Silent Watch is an approach to life Guo’s grandparents taught him; doing things quietly, noticing the details and silently watching.

student life

FIONA BONGARTZ AUT

F

iona Bongartz moved to New Zealand from Germany when she was 13. She feels very connected to Germany and the family she has there, but New Zealand is her home as well as she has grown up here. Bongartz has always loved organisation and problem-solving along with designing and making. Therefore, she studied a double degree in marketing and fashion design at AUT which has allowed her to develop her creative and business skills simultaneously.

Growing up, Bongartz’s grandmother was the one who taught her how to sew. Her grandmother along with her great aunt always had creative projects for her, from sewing to painting, to woodworking and everything in between. Her love for fashion sparked when she received a book filled with blank fashion templates when she was nine.

“I fell in love with drawing and designing clothes which sparked my dream of becoming a fashion designer.”

During her last year at AUT, she learnt a lot about the sustainability front of fashion. Bongartz always had an interest in sustainability but felt unable to contribute to a change. However, through research, she discovered ways designers can play an important part in creating a more sustainable future.

“Designers are the ones that shape and create opportunities for garments to be used for longer, through timeless and practical pieces and by encouraging consumers to interact with and mend garments rather than disposing them. This idea was a huge inspiration to this project, and I know it will affect my future work.”

For this collection, Bongartz wanted to approach sustainability from a user-perspective.

“Research tells me that if consumers had the skills and knowledge to use a garment extensively, replacement purchases can be delayed and reduced. However, clothing knowledge is passed on less and less due to the disposable nature of today’s fashion.”

In response to her research, Bongartz developed a range which utilises a few easily accessible tools and techniques. However, in return, it does require time and patience, which conveniently builds a bond between the person and the garment, a direct contrast to the fast fashion conversation.

Bongartz was inspired by her own experience of learning to make and mend garments with her grandmother growing up. She drew on themes of heritage, referencing traditional designs such as Aran and Fair Isle jumpers, but through felting rather than knitting.

“The colours and shapes within the embroidery were inspired by my grandmother’s drawings and paintings which are quite playful and organic.”

Bethany Williams is a huge inspiration to Bongartz, with her playful unisex designs and sustainable and ethical values.

“I love her use of colour and recycled materials as well as involvement in her community.”

During her second year of studies, Bongartz interned at Stolen Girlfriends Club, which then led into a part-time position as a stockroom assistant.

“This was my first time seeing how a fashion brand operates from the inside, and I learnt about all the different people that make it possible and the work that goes into it.”

Within the next year, Bongartz hopes to launch a website to sell some of her designs as well as it being a place to share the processes and making techniques Bongartz uses.

“My work is not so much about producing or buying sustainable clothing, but rather about reducing production and consumption and finding ways to use and love the clothes we already have.”

SOPHIA BARRELL AUT

S

ophia Barrell grew up in Auckland and was heavily involved with sports her whole life.

Even though she focused a lot of her high school life on rowing and athletics, she found happiness around horses and fashion.

When Barrell was younger, she always wanted to pick her own outfits to wear. She loved fashion and wanted to do something creative. After dipping her toes in architecture, she realised it was not something she wanted to pursue, so getting into fashion was an easy choice due to her passion for it since a young age.

Barrell’s graduate collection is called Rubberneck and is based off the power to make someone look twice. Rubberneck was inspired through creating tension between two different elements of horsepower: a Thoroughbred and a Dodge Challenger.

Each look was curated with sustainability in mind.

Upcycling was a huge part of her process.

“With the current situations of COVID-19, and the limited availability of resources, I wanted to use what I had in front of me. With a mixture of what I had at home already, second-hand clothing at the op shops and using dead stock material, each look was constructed from these sources.”

As Barrell was creating tensions between the two elements, she was after garments that were specific to what that person would be wearing when racing/ riding the Thoroughbred or driving the Dodge Challenger down a drag strip.

When it comes to inspiration in general, Barrell is her own muse. She designs clothing that she would wear herself. Music also has a huge influence in her work, artists like Billie Eilish, Tyler the Creator and Sabrina Claudio are three artists who are on their own planet with a strong grasp of their own aesthetic, and that to Barrell is inspirational.

The biggest challenge in the fashion industry right now for Barrell would be the current global pandemic.

With restrictions, lockdowns, and limited resources being available, it is made Barrell think in new ways - moving towards a direction where fashion was not pre-COVID. It will be a big challenge because we are heading in a path that is unknown, whether fast fashion will fall, and sustainability rises, we can never be sure. Small businesses might be given a bigger platform as the big retailers get shifted aside by the consumer.

“The priorities of the consumer and the businesses have shifted, hopefully for the better.”

Once the pandemic is over, Barrell hopes to travel to Europe to experience the fashion world overseas.

“I think travelling overseas to go see the fashion world will be completely different to what it was before.”

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I 23

student life

DAISY JIANG AUT

D

aisy (Caihong) Jiang was born in Inner Mongolia and immigrated to New Zealand ten years ago after studying English and International Trade in China. She worked for an Italian fashion brand called Seventy, sourcing cashmere and supervising local mill production as well as the shipment of garments.

Jiang has always had a great interest in making her own clothes. When she was young, her mother used to make all her clothes on a pedal-driven sewing machine. Jiang helped her mother make garments and repair clothes with this.

“I recall inverting a pair of my mother’s old trousers, revealing its fresh original blue hue, adding pockets, and resizing it for myself. My mother was thrilled with the result and gave me encouragement, thus fuelling my interest in garment making and fashion design,” explained Jiang.

Jiang noted that she has gained a lot of fashion design knowledge through her three years at AUT. From learning about the history of fashion design as well as movements like the design and art movement

24 I December/January 2021

that she once never knew about. Further, she has picked up on other broader skills like cooperation with classmates and thinking outside the box.

“Under the help and mentorship of the tutors, I learnt how to express my unique and authentic ideas.”

Jiang enjoyed gaining the skills that helped her take her ideas through every step of the technical development of her garments. As a result, she made high-quality, unique, and original fashion garments that reflected her passion for fashion.

“One of my greatest achievements has been designing for Touch Compass Dance Studio and making final garments and accessories for them that exceeded their expectations.”

Jiang’s graduate collection was designed under the ‘cloud’ of COVID-19. Thus, she wanted to take this chance to highlight the concept of ‘social distancing’ in her work. She was inspired by crinolines that were popular in the 1840s. These are internally framed wide-hoop skirts.

“As a way to work sustainably, I developed and

used a zero-waste pattern cutting technique and chose to work with locally sourced fabrics, including silk, silk-linen and tulle.”

The artistic side of Jiang has always led her to explore the connections between art and fashion. Her experience of studying visual arts previously, as well as working at an art gallery, has a massive influence in her work. Moreover, analysing different designers of each period also inspires Jiang.

Currently, Jiang is still exploring her own ‘design DNA’. She believes it is important for her to have a good grasp her own style before setting foot in the industry.

The slower pace of life during COVID-19 has allowed Jiang to stop and think about what she really wants to do after her studies.

“As a Chinese woman who lives in New Zealand, I observe a unique perspective to the fashion industry.”

Jiang hopes to study towards a Master’s degree at AUT while also gaining experience in the fashion field simultaneously. After this, she plans to work towards establishing her own brand.

DARIAH ANDERSON AUT

D

ariah Anderson has always been an avid op shopper and has worked in second-hand clothing stores for most of her adult life. She loves fashion design and have had some incredible support from others during her time at AUT. Her family has always encouraged creativity, she began experimenting with fashion since a young age.

Through her fashion course at AUT, Anderson has learnt the ability to take constructive criticism as well as not being afraid to make mistakes.

Her graduate collection, Discarded, was influenced heavily by the COVID-19 restrictions and lockdowns.

With ‘no off shore production and imports’ into New Zealand being prominent during the peak of COVID-19, it made Anderson look at what we readily had available here in New Zealand, and how this lifestyle worked in the past.

This brought her to investigate more recyclable options in the fashion industry out of necessity, specifically at what could be done with pre-used woollen blankets and experimenting with iconic Kiwi brands such as Swanndri.

“I wanted to stick to natural fabrics, and wool was the obvious choice due to its association and history with New Zealand. I find wool interesting to work with and enjoy the shapes and drapes it can create,” explained Anderson.

Although aesthetically very different to Anderson’s work, the late Alexander McQueen has always been one of her favourite designers - specifically, his Fall 2009 ready-to-wear collection. Recently, Anderson has been inspired by Martin Margiela and Ryohei Kawanishi.

Anderson is looking to gain more experience within the fashion industry and hoping to continue with her own personal design work in the future.

I wanted to stick to natural fabrics, and wool was the obvious choice due to its association and history with New Zealand.

10

mins with

SUPPORTING THE NEXT GENERATION OF DESIGNERS

B Bruce Page, Managing Director, Sewingtime New Zealand.

26 I December/January 2021

ruce Page of Sewingtime has been supporting fashion graduates all over New Zealand for many years. Page stepped foot at Sewingtime as an apprentice 30+ years ago and has been enjoying various graduate fashion shows whilst ensuring Sewingtime, in some way or another, supports the next generation of designers.

As we know, the clothing manufacturing industry has slowly morphed over the last 20 years; the large factories have all but gone. A lot of small niche businesses are replacing the large companies, and large ones are buying up competitors to keep market share. Sewingtime has been able to survive recessions, earthquakes, and interesting government decisions, watched trends come and go as well as businesses.

Sewingtime is now sustainable for the next ten years, and plan to be around for the next 30+ years.

This gives Sewingtime customers who seriously rely on their back up and maintenance services confidence to invest in quality machinery for their businesses.

Not only is Sewing Time supporting local businesses, but they are also helping the next generation by supporting learning institutes throughout the country.

“We are constantly talking to students, advising them, letting them know do’s and don’ts, pitfalls in dealing online even though we trade online. Making sure they don’t become victims of rogue operator’s that we know are hiding behind online accounts,” explained Page.

This year, Sewingtime has awarded the following students with a Siruba DL7200 Automatic Plainsewer to help kickstart their career in the fashion industry; George Borrie from SIT, James Taylor from Whitecliffe, Abby Haines-Bellamy from Otago Polytechnic and, Josh Bognar from Massey University.

“We enjoy helping people and businesses get the right machinery from them that will not only last a long time but become and asset in their future.”

GET INVOLVED

Fashion Council of New Zealand

The Fashion Council of New Zealand is a free industry resource for the fashion industry.

Membership is completely free. Join us in a space that gives you the opportunity to lobby, to network, and to collaborate.

visual merchandising

FLORAL STYLIST CO. Owner, head florist and stylistz at Floral Stylist Co. Susan Cameron got into floristy because she always loved flowers. Cameron scored a job at a tiny flower shop in Sandringham (only selling four types of flowers), however, even though the shop was small, her love for flowers started right there.

Cameron has been in the industry for 26 years. She believes it is becoming increasingly important to work on your brand aesthetic in store, as much as selling your final product. From branding font, to packaging to social media, you want your brand to be instantly recognisable.

Cameron’s corporate and retail clients use their flowers to express a brand look and feel throughout their spaces with permanent installations or weekly fresh vases of florals.

“The benefits of floral installations in-store are to build a seamless relatable brand that is instantly recognisable using intriguing, fashion-forward florals that are a talking point and to elevate the overall look of the brand and space,” explained Cameron.

The current colour palettes that are on trend according to Cameron are, multi-colour with pops of neon, powder blue and beige, blush and lilac, pastel green and dark green, pink with pops of bright red, yellow and lilac, white on white with no foliage.

Cameron likes to follow colour trends; however, she adds Floral Stylist Co's signature look to it at all times.

“We are known for pushing creative boundaries, our versatility and our fashion-forward bespoke designs.”

28 I December/January 2021

Floral Stylist Co. offers weekly floral installations from $100 plus delivery. For something more substantial, clients spend approximately $500 every one to two weeks depending on how often they want to swap out their floral installations. Some clients opt for preserved flower installations that can be changed every six months to a year. Preserved installations vary depending on size and start at $450.

Cameron loves working with both dried and fresh flowers.

“We create both and sometimes mix the two together. I love dried flowers because of the colours you can get now, and for the longevity, but you can’t beat fresh flowers, they bring a totally different vibe.”

The biggest mistake visual merchandisers can make when opting for floral installations is by not trusting the florist to make something that will suit the space, according to Cameron. Further, she also thinks it's more impactful to have one or two large installations rather than lots of small installations that can get lost easily in the mix.

“Try and do something amazing with the florals, it will get people talking about your brand. An Instagrammable back drop or seated area is also a great idea to get your brand across different social media platforms,” advised Cameron.

When talking about collaborations, Cameron is a big fan. It helps draw in new customers and foot traffic. However, you must make sure that brands you collaborate with are in line with your brand visiually and clientele wise.

“I aim to partner with companies that sell to my client base, woman 20-45 who love flowers, fashion, weddings and events.”

This year, bold flowers has been a huge trend.

Hydrangeas have helped with that as they are big and full. The Columbian rose has also been hugely popular thanks to its long-lasting qualities. Moreover, you can make them twice as big by flipping out the petals.

The modernist, brutalist, architectural and interior design movement has brough back flowers like the Anthurium, for its retro and angular look. Moth orchids and preserved florals are also popular at the moment.

The Floral Stylist Co. team makes unique, bespoke, thoughtful, and intriguing arrangements with a fashion-forward vision.

“People have come to expect this of us, and we live for it.”

Runway installations is one of Cameron’s all time favourite things to create. Last year, she created the Juliette Hogan Fashion Week installation. The two met in person at the space and discussed ideas which Cameron then made into a beautiful mood board.

The look was to be as if they had taken a patch of the natural landscape of New Zealand and put it inside the industrial space. Model’s wove ethereally through the walkways of tussock, moss, and native plants to haunting piano music.

“It was truly beautiful. I love being a part of creating original works like this that stop people in their tracks and move them emotionally.”

from the archives

VINKA LUCAS

V

inka Lucas always said that the colourful and exuberant style that characterised her career in haute couture, was a reflection of her multicultural childhood.

She was born in the Croatian village of Kozica near the Adriatic coast – one of the Mediterranean’s most beautiful areas. Its proximity to Italy, Austria, Hungary, Romania, Albania and Greece meant that Vinka was exposed to a variety of cultural influences.

She was skilled in the needlework and embroidery for which Croation women are famed, and later trained in cutting and design in the capital, Zagreb.

World War II took its toll on members of Vinka’s immediate family. She travelled to New Zealand to stay with family in Northland and learn English.

Vinka hoped to eventually become part of the fashion landscape.

Her first job in New Zealand was in a general store at Maungatapere. She spoke very little English – serving customers by getting from the shelf whatever they pointed at. Vinka was young and vivacious, and would later tell the story of when a male customer came in and told her she was “a real honey”. She obligingly reached for a pot of honey and put it on the counter for him!

Having contrived her own (very individual) style of English, Vinka moved to Auckland in 1955 to work in the fabric department of Price & Dempster. She met her husband David Lucas in the neighbouring manchester department. They married in 1959 and on their honeymoon in Hamilton they discovered a fashion/dressmaking business for sale. This became the original fashion-and-bridal store, Maree de Maru, a fanciful title which, she explained, meant ‘Marriage of the Brides’ in an anglicised version of her native Croatian.

In 1962 Vinka and David opened Maree de Maru in Customs St in Auckland, quickly attracting a loyal clientele. However, they had their eye on the city's busiest street, Queen St, moving there in 1966 with a series of spectacular promotions. They painted cars with the prominent slogan “Maree de Maru – now married to Queen St” and held a fashion show of

‘Brides of Different Nations’, which took place along the street’s busy footpaths.

Maree de Maru’s best advertisement was Vinka herself. Each day there was something of a minor event as Vinka would arrive, coming down Queen St in festive array. She didn’t possess any garments in dull colours. Vinka recalled with enjoyment the vibrant Croation celebrations of her girlhood and genuinely wanted her clients to relish the colourful impact she was able to provide.

Maree de Maru quickly became a cynosure of attention. Focusing on evening and bridal wear, it somehow combined basically efficient design with a generous modicum of theatricality, which was somewhat less sedate than the ‘look’ to which Auckland had been accustomed.

In time the Maree de Maru shop became just one of Vinka’s enterprises. She opened four more shops specialising in the glamour end of fashion – Modern Bride, Buttons Galore, Stanton Silks and Vinka Lucas After 5.

Her Zagreb training showed when in the workroom.

Experienced senior machinists held their breath as Vinka would fling extravagant fabric – up to $400 a metre – onto the cutting table, look at it, then go straight in with the scissors. She used no pattern, no pins and no chalk lines. Her workers said she never made a mistake, not once.

Invariably, any design of Vinka’s – streetwear, afterfive or bridal – had its own "little hat". She always insisted, reasoning that it completed the design and carried the theme of the gown to the wearer’s most important part – the head. Another of her innovations was to establish the Bridal magazine which she and her husband ran for fifteen years.

In 1980 Vinka Lucas became the first high fashion designer from 'the Antipodes' to show a collection in the London Fashion Olympics. In 1985 she had the winning entry in the international couturier completion organised by the Association of Voralberger Embroiders of Austria.

By then Vinka and her husband David were spreading their business wings from Auckland to the

Written by Max Cryer. Photo by Robert van Hoeve.

Arab states, where wealthy women were frequent buyers of luxury fashion. The debut of Vinka style to Arabia was a spectacular parade at the Regency Hotel in Bahrain. Then, in business with Sheikh Abbas Filamban, she opened a salon in Jeddah, Saudi Arabia.

Luxury fashion was a focus for the Arab aristocracy and petro-dollar millionaire society wives. Price was no object. Vinka imported chiffon from Paris, lace from Belgium, crystals and velvet from Vienna, silk and embroideries from Switzerland and gold thread from Florence. A Saudi woman in the top financial rank would not blink at a $10,000 gown, and it might be worn only once.

Vinka had no trouble adjusting to the strict rules of Islamic law – women’s arms were completely covered and there was discreet veiling of the décolletage. At that time, strict rules in Saudi Arabia also meant there were no fashion magazines, garment pictures could not show a woman’s face and garments could only be displayed on a headless form. Vinka and David imported a large number of shop mannequins from Italy and had to cut off their heads. No men, including David, could be seen in the shop.

In 1986 Vinka and her husband formed a plan to open in Los Angeles, where her penchant for striking design and eye for costly fabrics seemed a natural match for the upmarket level of Beverly Hills society and Hollywood glamour. But at that time the restrictive requirements for foreigners to run a business, or even to live there as residents, proved insurmountable.

Undaunted, Vinka continued to design for her shops in Queen St and Remuera until, in 2009, she suffered a major stroke. Typically, she was on her way to work.

Her daughter Anita, who learnt the trade alongside her mother, continues to run the high-end fabric and design business as Vinka Design & Vinka Brides.

Vinka is unable to be involved in the business, but she continues to take an active interest.

Vinka Lucas’s assessment of her own worth was not modest, but nevertheless accurate. She once said, “The fashion world was my oyster – and I created the pearls.”

apparelmagazine.co.nz

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