California Love: It’s all about flared sleeves, printed tees, Stevie Nicks and Dr Dre on repeat, fur collared coats and rose coloured glasses, kissing the sky and driving fast through the Hollywood Hills, screaming at Disneyland, skinny dipping at Malibu and wearing a gold chain crown to sneak into the Chateau Marmont [...]]]>

California Love: It’s all about flared sleeves, printed tees, Stevie Nicks and Dr Dre on repeat, fur collared coats and rose coloured glasses, kissing the sky and driving fast through the Hollywood Hills, screaming at Disneyland, skinny dipping at Malibu and wearing a gold chain crown to sneak into the Chateau Marmont at midnight.

Arizona to Nevada: Road trippin through the desert to the solem sounds of Lana Del Rey, kicking dust in overals, Wild at Heart red swimsuits at roadside hotel pools, staring down school girls in round glasses, lace flares and a big floppy hat to hide behind, smiling high at the Grand Canyon, polaroids in the middle of no where and gaudy gold in Las Vegas just for luck.

Her name of New York: Those perfect black boots to tackle Broadway, a big salad for a taste of Elaine, a navy hat that makes you feel like Annie Hall, a vintage tweed for tea in Central Park, Empire views and state of mind, a day at the MET in blue flared Ralph Laurens, drag shows in Harlem and a little black dress and bag to kick it downtown.

Yes I’m off to look for America. A big 3 week trip awaits me with an itinerary that reads: LA, San Diego, Phoenix, The Grand Canyon, Las Vegas, Washington DC and New York. After spending my entire life within an American-centric pop culture world, my excitement for this pending trip it sky high. While it will all be a pleasure, the purpose is mainly for work, specifically a Contiki tour I will be joining that starts in LA and ends in Vegas. Much of it I will be documenting for Student Flights, as will most of my trip. So get set for an xtravaganza of instagram imagery, twitter tips and many blogs to come. But for now, above is a shady snapshot of what I’m planning on packing. A few favourite essentials that will come in handy while I’m kicking it on Route 66.

Following our run in at MBFWA, last week I was delighted to receive a love heart covered envelope from talented designer Ana Diaz. Inside were a series of postcards and swing tags from her [...]]]>

Following our run in at MBFWA, last week I was delighted to receive a love heart covered envelope from talented designer Ana Diaz. Inside were a series of postcards and swing tags from her latest collection State High,  an easy, breezy and incredibly wearable ode to coming of age, crabs and the school girl that remains in us always. Within the campaign imagery of highway hangs and those overalls is a collage of glitter, eyes and some dear diary words I wrote for the collection a few months ago. It always so nice to see things come together, and I’m crushing hard on all of the elements that Ana has brought together. A solid Bris-vegas effort by dream team Sarah Birchley as stylist  and Megan Cullen as photographer and director (with a short film to come). I can’t wait to see the full campaign once it’s released. In the mean time you can purchase yourself some crab-covered nails and off the shoulder midriffs here, oh and read the full story while you wait for them to wind up in your letter box…

The Diaz girls Dear Diary,

Today was the last day of State High. No more teachers, no more books and all that jazz. Finally, we are rebels without a cause. For the most part, it’s been a blast. A wild ride of fast times and slow moments. Crushes, crashes, rejections, wipeouts and butterflys. After the yearbooks were signed and the cheers for those final moments took place, we headed to the cliched end of school beach party for the very last hurrah before the summer and the rest of our lives began.

There, after a few red cups, hook ups and drunken confessions of high school love, after the soon-to-be frat boys had passed out on the sand and the girls we hoped to never see again had disappeared into the sunset, we played a game of ‘remember when.’

Like remember when Miss Rosemary gave us a C for the overalls we decorated in home ec class? I mean sure we might not have touched a sewing machine all semester, but our hours spent doodling shapes using post paints certainly made for impressive forms of contemporary fashion. In our eyes at least.

Oh and who could forget when we all had crushes on Billy Jessop? At the time drooling over his leather jacket and, after much deliberation, deciding that the best outfit to wear it with was a grey sweatshirt and jeans. His jacket hung over one shoulder just so. Unfortunately none of us made it with him nor got to wear the jacket. No matter how much we tried to influence our cosmic powers during spin the bottle games, it just wasn’t in the stars.

Remember that night we all snuck out past curfew because we were bored? Then again that happened a lot of nights. Especially in the summer. We’d ride our bikes down to the beach for a midnight dip in the moonlight, set up a bonfire and stay up all night to watch the sunrise over the water. Sleeping in on the weekends caused a lot of grief from the parents but it was always so worth it.

And then there was that year when we shared custody of that green hooded parka jacket. The perfect parka that we’d all pooled our money for and took turns wearing each day. Our hair braided after much practice at sleep overs. Always fastened with the scrunchies we’d make for each other in detention.

Looking back its amazing to think we even survived high school, let alone had fun. Endless friendship bracelets, occasional herbal refreshments and always in pastel pink. Backpacks strewn over one shoulder. Shirt dresses worn with socks and sandals. Unruly brows teamed with unruly times. Glitter gel on our eyes and hope in our hearts. Hope we’d be noticed. We’d be accepted. Celebrated and commended. Something tells me that while the glitter rubs off, that hope will always remain.

The convenient definitions of girl gangs, geeks, surfers, sport stars and cheerleaders may be over, but for now we’re all left to share the one collective title. We’re the kids from State High. Finally a term we can wear proudly.

Signed

The Diaz girls

On day three, some of our strongest labels further cemented their place within the Australian fashion industry.

Day three at Fashion Week was a chance to showcase some of Australia’s strongest labels, each of which have made a name for forging their own niche in [...]]]>

On day three, some of our strongest labels further cemented their place within the Australian fashion industry.

Day three at Fashion Week was a chance to showcase some of Australia’s strongest labels, each of which have made a name for forging their own niche in the industry and have mapped out their aesthetic, garnered a loyal customer base and rarely veer from their signatures.

The first case in point was the bright and always graphic We Are Handsome. Titled ‘The Discovery and The Dynasty’, this season’s showing from Indhra Chagoury and Jeremy Jules Somers blended their new print concepts (The Discovery) with some of their greatest hits (The Dynasty). Within The Dynasty, there was familiar imagery of stallions, feathers, roaring lions and robots, each applied to a range of styles, from the skimpiest of string bikinis to the most flattering corset one-pieces, sleeveless dresses and even sheer silk cover-ups. For The Discovery, the design duo delved into vivid imagery of foxes, theme parks and monochromatic wildlife in the form of tigers, penguins and zebras. Combined with Bondi Beach Cruiser bicycles (ridden in heels and emblazoned with matching prints), the results were as colourful as any safari, and just as fierce.

Despite it being their debut show at MBFWA, Vanishing Elephant was another label that looked as if they had been doing it for years, staying true to their now recognisable, relaxed yet tailored street-wear. Set at a wonderfully industrial space at Australian Technology Park and accompanied by a zine edited by Broadsheet (now available at the label’s stores), designers Huw Bennett, Felix Chan and Arran Russell let their precise techniques and sense of humour shine through. As always, shirting and suiting for women and men were present, this season in cheeky stripes, spots, hibiscus and shark prints. Vanishing Elephant’s biggest strength has always been its outerwear and this season’s offering was no exception (the kimono-style jacket worn by Julia Nobis proved a key example). All up, the collection, titled ‘A Continuous New Beginning’ seemed to tick all the sartorial boxes of a clichéd Japanese tourist’s trip to Hawaii, and yet it appeared so effortlessly cool – as if it had been so obvious all along. Such is the understated magic of this talented trio.

Understated magic was also in the air at Michael Lo Sordo’s show. This season Michael swapped digital prints for a strong emphasis on suiting. But it wasn’t all business, with deconstructed pieces revealing a serene, almost melancholy mood – like a businesswoman coming undone, checking into a clinical asylum and wandering stark halls in a honeycomb-textured white trapeze coat, bike shorts and slippers. A high nun-collared business shirt looked to be shrunken with hems ending above the midriff, while a body-con black dress featured abstract sheer splices as if the dress had cracked. You could continue to dive deep into the metaphors, but on a surface level the collection was incredibly elegant and further cemented Lo Sordo as not just a lovely guy (you could tell from the cheers alone), but a designer to be reckoned with.

Published on Broadsheet

In the stark surrounds of Ray Hughes Gallery in Sydney’s Surry Hills, Karla Spetic began day two of MBFWA with a sort of ritual cleansing. Clean, all white looks slowly wafted out to the poignant sounds of [...]]]> Day two at MBFWA was a celebration of femininity in all its forms.

In the stark surrounds of Ray Hughes Gallery in Sydney’s Surry Hills, Karla Spetic began day two of MBFWA with a sort of ritual cleansing. Clean, all white looks slowly wafted out to the poignant sounds of classical violins. Fittingly, the Sydney-based designer’s spring collection is entitled Faith. A kind of faith, it seemed, which worships at the altar of celestial femininity. Continuing on from last season’s lace, silk and organza splice combinations, this season Spetic swapped sorbets for cheerful brights and a stained-glass Jesus print that was more Baz Luhrmann’s Romeo + Juliet than Passion of the Christ.

What was most interesting about Spetic’s collection was the way the garments seemed to float on the body. While there was plenty of skin on offer, it was shown in all the right places – a glimpse of midriff above the waist or a sheer panel on the thigh at its most flattering point. It might not have been something you could get away with at church, but it sure was heavenly.

Toni Maticevski also seemed to reach to the high-fashion heavens this season. Set to a moving recording of Yves Saint Laurent’s resignation speech, the Melbourne designer dressed modern-day debutantes in long and lean looks, adding interest to the hips and waist with stiff geometric peplums that, as the looks progressed, evolved into ball gowns. One couldn’t help but notice YSL’s influence (particularly the French designer’s earlier work at Dior) throughout the collection. Maticevski referenced softer versions of Dior’s ‘new look’, which grew more and more exaggerated with neoprene draping creating wonderfully sculptural shapes. The dress we’ll all remember though will be that watermelon pink neoprene ball gown. Compared to Hedi Slimane’s grunge offering for the newly named Saint Laurent, it was sartorial salvation.

At Ellery, the sound of pulsating drums alluded to the incoming tribe – one that was led by international blonde Hanne Gaby Odiele, a coup for Ellery and Russh magazine, who coaxed the Belgium model to our shores. Behind her stomped a fierce clan of Neanderthal glamazons wrapped and armoured in an array of primal textures, be it shag, croc, leather, lace or feathers. Among the beautiful calamity, it was Ellery’s shapes that really stood out. The recent resurgence of wearing jumpers around the waist was pushed to extremes as deconstructed blazers were wrapped around the waist and swathes of wrapped leather billowed down like an apocalyptic ball-gown. Construction was complex to say the least. There were however some simpler, more accessible moments: a silk kimono that dropped to the floor with thigh-high splits, a black gorilla sleeved blouse, a pair of printed flares. As with any Ellery showing, it was always going to be sexy. This season it just came with a tribal twist.

Finishing the night was Dion Lee, with an intimate dinner and presentation of 15 concise looks from his spring summer Windmap collection. While the range had previously been shown in Paris to international acclaim – and found him a place as a Woolmark finalist – Lee was adamant that it was also important to show in Australia as well. The Sydney Opera House was, once again, the perfect setting. It’s a landmark that Lee has drawn inspiration from throughout his career, including this collection with the iconic sails, along with wind patterns, influencing the sculptural shapes. “Being from Sydney I think [the Sydney Opera House] is something that represents the contemporary Australian identity,” Lee said backstage. The same could apply to his thriving label.

Click here to see our coverage of Camilla and Marc, Christopher Esber and Romance Was Born on Day One at Mercedes-Benz Fashion Week Australia.

Published on Broadsheet

The first day of MBFWA started strong with a milestone, veered off in a new direction and meandered back with a return to theatrics.

X usually marks the spot, but in the case of Camilla and Marc, the capital letter embossed behind their runway marked 10 years of showing at [...]]]>

The first day of MBFWA started strong with a milestone, veered off in a new direction and meandered back with a return to theatrics.

X usually marks the spot, but in the case of Camilla and Marc, the capital letter embossed behind their runway marked 10 years of showing at Fashion Week Australia and the commencement of this year’s event. A decade is a lifetime in the fashion industry, one that began for the brother and sister duo at the New Generation show in 2003 with a collection of playful, strapless white polka dresses and hooded sleeveless blouses. Since their debut, the label has grown prodigiously, welcoming a swim label, a diffusion line, an online store, flagship stores and a key stockist in Net-a-Porter, all within their first 10 years.

The label’s aesthetic has undergone a sophisticated evolution over the years, but luxury party wear, classic tailoring and separates have remained a constant. And while there were no polka dots or hoods in their latest offering, one could still recognise similarities to their debut all those years ago. White was once again a strong presence, best seen in a double-breasted slim-fit suit, numerous sleek leather pieces and as a glimpse from underneath a playful black skater mini dress. Strapless pieces were also on show, sculptured and moulded stiffly to the body. Fabrication has always been one of the label’s strong points and this season the star was an opulent gold jacquard. It was used in a swimsuit, pant, bustier, blazer and finished the show as a sleeveless mandarin collared coat-dress, paired back with black French lace peeking out from underneath. Such details prove that Camilla and Marc are just as playful as ever. It’s just that they’ve grown up a little (along with their customers).

At Christopher Esber, the aesthetic was just as slick, but with a twist of the industrial. Arriving at the Marrickville warehouse, which sported azure blue and orange scaffolding, you could have guessed that Esber was getting set to dip his toe into something a little more grunge. And while there were elements of the raw and rugged – frayed seams and what looked like grey hemp (actually hand-woven silk) – overall the look was a polished and progressive take on 80s minimalism.

Much like Camilla and Marc before him, there was a strong focus on fabrication, with experimental techniques such as plaid raffia masquerading as woven silk and a textural grid stamped on bonded synthetic, building upon his reputation for high-tech fabrics. The designer also flirted with colour this season. Grey, lemon, silver, blues and even a sheer plaid print leant a different inflection to his renowned monochromatic aesthetic. While his signatures were all there, this collection did feel like a slightly different direction for Esber – one that was far more multifaceted (the devil was in many details) but with a softness to it as well. You could see it in the subtle drape of various pantsuits, bejewelled necklines and billowing cocoon coats.

Multifaceted is a word that could also be used to describe the psychedelic wonderland that is the work of Romance Was Born. As Tim Blanks aptly wrote for Vogue Australia last year: “A Romance Was Born production is never going to be an exercise in subtlety.” This season Anna Plunkett and Luke Sales took it to the stars, over the rainbow and beyond, collaborating with installation artist Tanya Schultz to present a hyper-coloured collection and a far-from-subtle show. While last summer the label was commended on its more commercial, super-hero move, this season’s offerings headed full-steam ahead into fantasy land – a move that could make sense considering notable musicians such as Grimes and Bat for Lashes both donned Romance War Born’s dramatic designs during their recent Australian tours.

Like something out of a fairytale, the collection saw Peggy Moffitt-esque harlequins prance out in pastels, sequins, pearls, head-to-toe florals and sometimes all three at once. As a showcase, it looked sweet enough to eat. As a clothing collection, it looked like a dream dress-up box. Among the sea of floral flares, sequinned smock dresses and harlequin ruffle collars, it was hard to envision wearability beyond the streets of Harajuku. There were a few moments that touched on reality though: a digital printed blazer and min-skirt that, when separated, could make their way into stores. But for the most part, Romance Was Born had their head in the multi-coloured clouds. If only real life could be this dreamy.

Published on Broadsheet

All eyes will be on Sydney next week as local labels preview their spring/summer collections at MBFWA.

A few months ago, the Mercedes-Benz Fashion Week Australia schedule was looking a little sparse. The industry-only event, which this year move to a new location in [...]]]>

All eyes will be on Sydney next week as local labels preview their spring/summer collections at MBFWA.

A few months ago, the Mercedes-Benz Fashion Week Australia schedule was looking a little sparse. The industry-only event, which this year move to a new location in Carriageworks, was lacking of some of Australia’s most internationally renowned names. Dion Lee was nowhere to be seen. Nor was Ellery or Sass & Bide. But in true fashion style, the Mercedes-Benz-sponsored event has seen a cluster of names added to the bill at the last minute.

For Dion Lee, it will be an intimate presentation and dinner on the Tuesday, while Ellery will show offsite on the same day. Hot on the heels of their London show, Sass & Bide are set to host a private function on the Friday. Another new name to be added to the schedule at the tenth hour is newcomer Emma Mulholland, who will make her colourful catwalk debut on Thursday night.

But Mulholland isn’t alone in making her debut. Leather lovers Kahlo will enjoy their first solo show this year, as will Phoenix Keating, a designer who is no stranger to the spotlight since Lady Gaga has been known to wear his creations.

Another newcomer, Khim Hang is set to debut his label, Han the Label on Wednesday, describing Fashion Week as “the next move for the brand”. he says. Despite being based in Brisbane, Han the Label has generated buzz for its European minimalist aesthetic (in both womenswear and menswear) in a very short amount of time. “This collection being showcased really marks and solidifies the brand’s aesthetic and also, really, the brand itself.”

When asked what we can expect from the collection, titled Bandits, Hang says: “A lot of white, interesting details and unexpected finishes.”

On the other side of the spectrum, this year’s MBFWA also marks a few veteran milestones, with Camilla and Marc and Jayson Brunsdon celebrating 10 years since they made their runway debut at the event. Runway veterans Alex Perry, Lisa Ho and Easton Pearson will also be showing and, after a three-year absence, New Zealand label Zambesi will also make their Australian return.

“We always love presenting the collection as a show and this year is ideal timing for Zambesi to return to Australian Fashion week,” says designer Elisabeth Findlay. “After an extremely successful winter season, our confidence and enthusiasm levels are high!” Along with her husband and design partner Neville, Findlay will be closing the week in the coveted Friday afternoon time slot.

It should prove one of many highlights across the week. Stay tuned!

Mercedes-Benz Fashion Week Australia runs from April 8 to 12 in Sydney. Throughout the week, Broadsheet Sydney will be bringing you all of the highlights and details with daily wrap-ups of the shows. Onsite shows are also available to watch via a live-stream on retailer Jasu’swebsite as well as from Martin Place.

australia.mbfashionweek.com

Published on Broadsheet

Suede and embroidered ‘Penny Lane’ custom-made coat

Vintage rabbit fur coat given to me by a friend (don’t judge me!)

Crushed velvet dip-dyed vintage dress

American Gold black lace dress

Zimmerman [...]]]>

Suede and embroidered ‘Penny Lane’ custom-made coat

Vintage rabbit fur coat given to me by a friend (don’t judge me!)

Crushed velvet dip-dyed vintage dress

American Gold black lace dress

Zimmerman silk tweed pants

Embroidered suede vintage dress from Brugge, Belgium

Silk, lace and beaded vintage dress from American Rag, Melbourne

Hand beaded and embroidered vest by Kate Stein

Free People gold sequinned and chiffon dress

Vintage beaded top from New York

Shakuhachi lace dress

Cue velvet brocade pants

So in a follow up to my last diary entry, I bought those textured Cue pants (above). All velvet brocade and skinny legs. I had to wear them in over the weekend, the Easter Weekend at that so what were once skin tight Kramer jeans have kindly moulded to my Easter egg consuming body. While I love the way they look, the muted colours kindly complimenting/clashing wonderfully with pretty much every top I own, I love they way they feel more. I’ve caught myself stroking my back pocket a number of times so far. Not because I love my booty (it a’ight *click*), but I just can’t get enough of that soft, furry texture.

It got me thinking about my own style. Perusing my closet with thumb and forefinger I’ve come to realise that what brings my closet together is not a common style, but texture. There’s fur. Lots of fur. Too much fur for a girl living in Queensland. There’s lace. Sequins, beads, suede and velvet in a myriad of forms; crushed, devore, panne. Above are just a few of my favourites. You can look, but don’t touch.

It might just be the recent Bowie resurgence or the fact that winter is slowly but surely on its way, but whatever the reason, brocade is on my mind once more. I’m such a textural dresser; velvet, lace, fur. If I can cop [...]]]>

It might just be the recent Bowie resurgence or the fact that winter is slowly but surely on its way, but whatever the reason, brocade is on my mind once more. I’m such a textural dresser; velvet, lace, fur. If I can cop a joyous feel of myself I’m all for it. But velvet brocade would be my favourite. Especially a brocade suit. So very Brian Jones. I’m currently coveting a delicious pair of brocade pants from (of all places) Cue at the moment. I do wish the skinny style was boot cut, but apart from that, they are quite perfect. When you’re bank account doesn’t allow for Balmain a girl’s got to get creative.

Also for my readers, who ever you may be, I’d just like to announce that I’m going to be at Australian Fashion Week this year. Next month in fact. I know it’s much more chic to be a nonchalant black-clad attendee these days but I’M SO EXCITED. It’s been two years since I’ve been to the shows. Two years too long in my eyes. I’m looking forward to returning to Sydney, seeing some amazing talent, writing some reviews and wearing lots of delicious velvet brocade. I apologise in advance if you mistake me for a peacock (the good or the faux-pas kind). It’s not my intent at all. I’m really just trying to channel babetown Brian Jones rather than ruffle feathers.

Brisbane-based designer Bianca Mavrick makes her debut with Prickly Pear, a collection of artisanal jewellery inspired by her Greek heritage.

“I couldn’t see myself designing washing machines,” Bianca Mavrick laughs, fiddling with a curious piece of textured silver while sitting on her deck in sunny Brisbane. Such a unique sculptural piece [...]]]>

Brisbane-based designer Bianca Mavrick makes her debut with Prickly Pear, a collection of artisanal jewellery inspired by her Greek heritage.

“I couldn’t see myself designing washing machines,” Bianca Mavrick laughs, fiddling with a curious piece of textured silver while sitting on her deck in sunny Brisbane. Such a unique sculptural piece is perfect evidence of why she’s better off away from the offices of Fisher & Paykel.

“It was on my last day in Crete and I was just thinking, what am I going to do?” she recalls. Having just graduated from an industrial design degree, her father asked her to come to Greece for a family wedding. Attending purely on a whim, the trip would eventually prove central to her next career move. “While on Crete I saw all of these amazing jewellers and started to meet people and just relax. I started to get really inspired and decided that this was really what I wanted to do and that I should just give it a go.”

Just two years later and Mavrick, aged 23, has just released her debut collection, Prickly Pear, via her eponymous label. While her time in Greece played a part in pushing her towards a career in jewellery, it also played a role in inspiring her debut collection’s central theme. “The collection was inspired by the prickly pear bushes that I’d see on the islands,” she says. “My grandparents also had one in their garden and it’s just this obnoxious weed that you can’t get rid of but you can eat the fruit. In Santorini they actually make cocktails out of the fruit, which are usually bright magenta or bright yellow.”

Playing upon the plant’s vibrant colours and unique textures, Mavrick has fashioned a balanced collection of bold shapes and subtle details. While the hand-carved prickly pear earrings are destined to be worn by someone with a style that’s as bold and unapologetic as the plant itself, the prickly weed and other elements of Greek island life have also been channelled into more delicate pieces – namely sterling silver rings and earrings that have been given texture through paper cut collages and evil eye embellishments.

“The collection has a little bit of a sentinel feel, like you’re being protected, because the prickly pear bushes are so impenetrable its nice if you’ve got that force there. Something between you and your own destructive tendencies,” she says, admitting to being quite superstitious. “It’s also what the evil eye is about to. That sense of protection.”

While she might not have gone on to design whitegoods, Mavrick’s industrial design skills have still gone to good use throughout the process, hand-filing and carving all of her pieces in her Bulimba studio. The design aspect, however, has come as a result of studying fine arts at QCA and gaining as much industry knowledge as possible, most notably from Melbourne jewellery designer and food enthusiast Lucy Folk.

“I basically would turn up at her studio every day and just hang out with her. She told me so much about how the industry worked, which was great because uni was teaching me about how to work as an artist and I was able to learn from [Lucy] about what the industry is like from more of a fashion perspective.”

While such a perspective is evident in Mavrick’s work, an artistic element also comes through as well, particularly in regards to the larger wooden pieces, which are currently available made to order. For Mavrick, the two elements go hand in hand, drawing from her own style and way of dressing.

“I see my customer base as women who curate their wardrobe and accessories as they would a piece of art,” she says. “I know that’s how I like to shop. I like to buy things from other artisan makers. It makes your wardrobe more about a story and embedded meaning. There’s more of a larger concept that it communicates. Even if the viewer doesn’t realise, it’s nice for the wearer.”

Bianca Mavrick’s jewellery is stocked at Tom Gunn in Melbourne andonline for custom orders.

biancamavrick.com

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