Alice Euphemia is excited to present LEVEL TEN, a publication launch and exibition to introduce the world to our future fashion makers of Australia. LEVEL TEN is a publication created by last year’s RMIT Fashion Design graduates. Celebrating their diverse body of work, the 112 page book is not only a documentation of their graduate collections – it is a valuable insight into the design processes of the industry’s up and coming talents.
Please come join us for a drink instore on Wednesday 6th Febuary from 6-8pm and pick up a copy of LEVEL TEN as we celebrate the future of Australian fashion.
In preparation for the exibition, we would like to introduce 10 Graduate fashon designers to you, all of whom will exibit in a week long exibition here at Alice, transforming our store into a showcase of big things to come.
In our first instalment of ‘Meet your Future Makers’ we interview Natasha Fagg, Tania Rapiac and Jack Thomas Hancock….
What work do you have featured in the Level 10 catalogue?/ describe you 2012 work… Arthropoda is a comparative body of work which explores adornment through two opposing elements, the engineered versus the crafted. A series of prototypes have been developed which compare embellishment through the facility of technology (in particular 3D printing) and the artisan (hand embroidery). An initiatory reference to insects viewed under the microscope has been abstracted through digital function and these hyper magnified surfaces provide inspiration for volume, silhouette, design lines and structure. Microscopic explorations of growth. The natural informs the synthetic.
A highlight of 2012? I am extremely honoured to have been selected as the winner of the AINYFF scholarship, this incredible opportunity sponsored by Woolmark has not only opened the door for me to intern internationally, but has allowed me to present my work to some of the leading Australians in the fashion industry.
What are your plans now?/ What are you currently working on? I actually have a very busy March ahead. I have been selected as a finalist in New Zealand’s iD Dunedin International Emerging Designer Awards, which grants me the opportunity to present my collection upon the runway to international judges, including Stephen Jones. I will also be presenting my collection within the Sportsgirl National Graduate Showcase during Loreal Melbourne Fashion Festival, this prestigious show has been an aspiration of mine for many years now and I feel so lucky to have been given such an incredibly opportunity.
Currently, I am working as Design Assistant/Accessories Coordinator at Mariana Hardwick. My role is diverse, challenging and has presented an excellent learning opportunity. The wealth of knowledge held within the walls of the Hardwick building is absolutely phenomenal. All dresses are crafted in house, with some dress-makers having been with the company for up to 20 years. Their mastery skill and technique is something I strive towards.
My practice has focused on fusing the bespoke qualities of traditional menswear including tailoring, using classic materials like wool and paying tribute to the heritage of menswear with a modern ethos. I explore pattern-cutting techniques, artisan knitting and materiality in away that evolves a new genre of menswear.
The toiling process and documentation has been crucial, highlighting the evolution process.
My design influences and concerns revolve around material exploration and investigating clothing construction, primarily deconstruction as a method of making.
The highlight of 2012 would have been showcasing my work on the runway as part of Melbourne Spring Fashion Week. I was also involved in a few collaborations with stylists and fellow RMIT fourth years to form different interpretations of the garments as each garment is an individual piece which can work alone as well as cohesively as a collection.
Currently I am just about to endeavor into more collaborative work with some fellow RMIT graduates to create a capsule collection whilst interning and working in retail. I plan to move to Europe mid year and embark on some further projects and internships over there. My dream opportunity would be to work for Kris Van Assche, Rick Owens or Boris Bidjan Saberi.
JACK THOMAS HANCOCK
Describe your practice/ work/ philosophy: I work on systems of clothing production, which form a backbone for quick make and output, which allow for various design outcomes. I prefer to make and design whilst making. In my opinion design is to make decisions, I prefer putting the decisions in front of me, allowing for mistakes, and repeating the action when I know how its meant to go… that’s why a lot of my collection has repeat garments. This is really just a way of producing clothing, a tool… but it will change in the future, as everything does. Systems allow you to perfect, and then alter the way something looks. My collection has many systems, but I’ve placed a theme to embellish the systems… Edwardian era men’s suiting.
Who are you as a designer/ person? Sometimes happy, sometimes sad, sometimes dark, sometimes bright..
Sometimes knit, sometimes weave
What work do you have featured in the Level 10 catalogue?/ describe you 2012 work… Skin, Integrity & The Ghost is a collection of garments, which are outcomes of three different systems of clothing generation. The garments work together to create an outfitting system. The garments reference the Edwardian period in their styling and are driven heavily by an exploration into the textiles used within the realm of menswear, contemporarily and historically.
Skin uses bias cut wool, cut with a t-shirt block to create second skin like garments that act as the first layer of the outfitting system. Integrity explores the internal structuring of tailoring, breaking down each textile into a separate garment, designed to be re layered up to sit under, and give body to the ghost. The Ghost uses whole cloth, tailoring from the shoulder up on, to pay homage to woolen suiting fabrics and declare ‘the death of tailoring.’
What is your favourite/ key piece of your collection from last year? I love my bias cut woolen “suits” that are part of the “skin” system…. they aren’t perfect, but they taught me a lot about make and really blur what suit, shirt, t-shirt and garment could be…
What are your design influences/ concerns? I’m heavily influenced by history, and its aesthetics… sometimes I have my head in the clouds, but I think that everything had more integrity beforehand.
A highlight of 2012? (collaborations, shows/ exhibitions you were featured in, uni stuff, etc) I really loved working with Olivia Tran, Elliott Lauren, Benjamin Hancock & David Huggins to produce a plethora of movement footage with my clothing
What are your thoughts on contemporary fashion/design? Future of the industry? Where does your work sit? Why is it important? I think people need to risk more, and worry less about monetary returns.. As garment makers, we have a cultural influence on how people dress, and thus appear. In my opinion people dress for speed and money now.. Not for beauty or expression… I’m guilty of it myself. I don’t know if my work was intended to sit in fashion. Maybe parts of it could blend really well within contemporary fashion, but my graduate collection was about learning, in a greedy way, how to make clothes differently, so that one day I can add something to the industry.. Maybe
What are your plans now?/ What are you currently working on? I’m currently interning with Glen Rollason. He makes patterns and some sampling for lots of Melbourne fashion industry. He is a very wise man and I feel like every time I go to his studio I learn more and more. I’ll also be presenting in LMFF’s National graduate showcase in March (Saturday the 23rd 7:30pm)
What would be your dream opportunity? I’d like to own a farm that produces its own fibres, turns them into yarns, and then either fabrics or straight into knitted garments… Wools, Alpacas, maybe some sneaky silk and would totally push for hemp production. Australia can grow some really great wool.