INTERVIEW WITH VERITY PEMBERTON

 Photo by Vanessa Jackman for MOON Magazine

MOON Magazine is a beautiful new magazine from London, UK. Here is a little Q&A I did with the Creative Director of MOON, Verity Pemberton. 

Could you tell us a bit about the inspiration behind MOON and what you wanted achieve?

MOON came about as I previously did my own fanzine called Don't Know Yet from about the age of 16 and MOON was originally going to be another version of that, but I built up such a large collection of work and collaborations that I just wanted to show all the work in the best possible light so that's how it turned into MOON. I wanted a new start and to print something really beautiful in full colour that people would want to display as well as read.

You have quite a remarkable resume! Working with Rookie Magazine, Florence Welch, Urban Outfitters, Orla Kiely, among many others... How has your work as a freelance stylist and designer led you to being the Creative Director of MOON?  

I just love working on lots of different projects and being busy and because MOON is my own magazine it is the perfect creative outlet for me and all my ideas.

What have you loved most about creating your own magazine?

That it serves as a great excuse to meet new people and interview those who inspire me. It is also the most satisfying thing to hold something you created.

It is such a quaint, lovely little publication! Do you feel that it is a reflection of your own taste/style?

Yes if I were to turn into a magazine I would be MOON.

The styling in the editorial ‘Marli’ has a slight Moonrise Kingdom feel to it. Did you reference Wes Anderson?

Slightly - although it was also the case that I had just slowly built up this massive collection of vintage scout themed clothes and wanted to use all the great props I had, but Wes is definitely a great inspiration just generally. I recently saw the Grand Budapest Hotel which I loved - am thinking I may need to have a Wes Anderson themed party soon!

How did you come to work with photographer Vanessa Jackson?

I first contacted her when I was writing the Alice Temperley blog and wanted to interview her. She then asked if she could photograph me for Italian Grazia so came over to my house and we just got on really well. I absolutely love her photographs and working with her is always so much fun - we have a really great team - me, Vanessa and Jessica Mejia on make-up. 

There are so many fashion publications around these days, many of which are online. Why did you choose to make MOON a print publication?

Because I have to be on a computer a lot for my job as a designer and it's nice to hold something and not be looking at a screen. It also makes MOON feel more real and like a proper publication, something that was really important to me. 

Thanks Verity!

P.S You can buy the first issue of MOON here.

INTERVIEW WITH CARLIE BALLARD

Photo: The Clean Cut team with Founder/Editor of Peppermint Magazine Kelly Sheenan, me (Siggi McCarthy) and my colleague at Ethical Clothing Australia Rebekka Carey-Smith. 

The Clean Cut Designer Showcase was part of this year's Mercedes Benz Fashion Week in Sydney. You can read more about the sustainable fashion event here. Below is an interview I did with one of the lovely Clean Cut founders, Carlie Ballard.  

Could you please give me a little background on the Clean Cut team? What brought the girls together?

The 4 of us who started Clean Cut are all Sydney-based and really felt the void of a sustainable presence in the Australian fashion scene. We could see what was happening in the industry locally and globally and soon realised that we needed to create a meeting point and a presence to celebrate the work of sustainable designers here in Australia. It quickly became apparent that it was actually up to us to make this happen. I (Carlie Ballard) called on 3 girls I had worked with over the past few years - Kelly Elkin from ALAS the label, Lisa Heinze Author of newly published book Sustainability with Style and Yatu Widders-Hunt published eco writer, blogger at Thinking Fashion and media and communications expert. After our first meeting there was no turning back and we were planning the vision for our organisation from day 1.

What criteria did you consider when selecting designers to showcase at the event?

For the event we had a fairly strong idea of the labels we wanted to represent. We knew we needed to showcase the labels with a strong brand experience. And we also wanted to ensure we represented many of the different mediums sustainable designers are working with in this space. The Clean Cut showcase is about celebrating the steps designers are taking toward a fairer and more sustainable fashion future so we didn’t want to be purist with our choices.

Our industry has many bodies including Fair Trade Labelling Organisation (FLO), GOTS Certification, Made-By and Ethical Clothing Australia to name the major ones, so we sought a few labels with these credentials. But for many grassroots companies (which this industry has many) this is too costly, so it comes back to understanding their business model, the task at hand, such as ensuring fair labour rights, sustainable and ecological fabric choices and manufacturing, low and no waste pattern-making and empowering co-operatives to harness the beauty of traditional crafts and sustaining livelihoods through business.  

What makes Clean Cut different from other sustainable fashion runway shows? 

From Day 1, we knew that if we (sustainable fashion) were going to create waves and be included in the wider fashion community there could be no compromise on aesthetic, quality or style. We also knew that we needed to promote sustainable fashion outside of the sustainable fashion bubble, and be inclusive to the wider fashion industry. We saw this as the only option to make real change. We had to put on a production that was MBFW ready. The best models, beautiful space, leading stylists to ensure sustainable fashion stood tall next to the other MBFW shows during the week.

You are developing an online directory that will eventually act as a ‘guide to the sustainable fashion world.’ Could you please explain this in a bit more detail?  

Yes, we’re really excited about this. We are calling it a ‘Style Guide’. It’s basically a go to directory so consumers can easily find the labels across the globe that are actively working in this space. This is where much of the problem lies, the outlets for many sustainable designers are limited and hard for consumers to get their hands on. So this will be great for consumers to shop based on their values. Our mission is to bring back the value in clothing, start getting people to make more considered fashion purchases, buy quality not quantity. Our clothing choices are very defining so it’s important that the social and environmental impact behind their manufacture are taken into consideration too.

What are your thoughts on the current Australian fashion landscape, with regard to the sustainable design sector?

I’m excited! Changing the face of the fashion industry was and is never going to be a speedy task. When I started in this space back in 2007 everything that I entered into Google lead me to the northern hemisphere. There were definitely brands working in this space in Australia but they were limited. Today there are new design led brands popping up all the time that are working with beautiful natural fibres and harnessing the talents of artisans and importantly ensuring that fair working conditions are ingrained into the core of the business. It’s definitely exciting to see well known labels such as Ginger and Smart, Scanlan Theodore and Manning Cartell become Ethical Clothing Australia accredited. Sustainable fashion is growing, and pressure is definitely building for all labels to start to take steps in the right direction. It’s the future of the fashion industry so it’s only a matter of time.

How do you think we can promote further sustainable and ethical design within the local industry?

Definitely by having the Clean Cut Designer Showcase each year to celebrate exciting labels in this space, but we also have lots of plans to educate at the grassroots level. Students are completely aware of sustainability now, so it’s really important that the emerging designers are incorporating sustainable and ethical practices into their businesses. Also, Clean Cut is excited to be an industry body to make change and assist designers with creating a more sustainable and transparent supply chain.

Thank you Carlie! 

INTERVIEW WITH RACHAEL CASSAR.

Image by Patrick McCarthy

The term ‘sustainability’ is thrown around a lot these days… How do you interpret the term and how does it influence your designs?

(Sustainable fashion is) fashion that is designed with a consideration for the environment. I consider the item’s lifespan and its footprint, and I create fashion that looks towards protecting the future.

I up-cycle. I try and extend everything in a garment’s lifespan - old zippers, old thread, shoulder pads, buttons... I now have a library of different elements that can be recycled to create new garments. I take and save each element, even if I am not using it in a current design. There is no such thing as waste for me. The tiniest scrap can save the day when designing the way I do. I work without limitations. I have even taken apart old designs of my own and re-used the fabric again.

How do you ensure your garments are of the highest quality? Take us through your design process.

I source my materials from anywhere - markets, garage sales, op shops, auctions, donations from friends, family and public. I then carefully unpick the garments and reuse the fabric, draping directly onto a mannequin. I don’t think people are attracted to my work solely for the ‘eco’ element; I believe my design aesthetic holds its own ground. I love good design and high fashion and I don’t sacrifice these things for an eco result. The fact that it is sustainable is a bonus. The two combined (good design and sustainability) ensure a desirable product.

What are your thoughts on the local Australian fashion industry; do you think sustainable design is encouraged and/or supported?

I do find it hard here in Australia for the type of fashion I create. I am all about slow fashion - each item is hand made, valuing technique and quality over quantity. Instead of them being disposable and short-lived, I want my garments to tell a story and to be passed on. Unfortunately, this makes it difficult for a small label like mine to thrive here, as it goes against everything our traditional fashion industry is about. To be honest, most of the attention I receive is from overseas. The fashion industry here seems to get to a point where it is comfortable with a handful of designers and those designers seem to dominate the marketplace for decades. 

Various celebrities have worn your clothing – including Rihanna, Kristen Stewart and Christina Ricci – how did these opportunities arise?

A Los Angeles based PR firm contacted me after I had a stall at the Esthetica exhibition during London Fashion Week - they were passionate about my range and my vision and wanted to represent me! 

Which other fashion designers and labels (that have a focus on sustainability) do you admire/reference?

Margiela is someone I have always admired. However my aesthetic is very different to his, so I don’t really reference (his work). I also love the versatility and timelessness of Yamamoto and Rey Kawakubo. They have created designs that sustain time; they can be transformed and worn many different ways. They also encourage the wearer to look closer at the way things are made and the way we can wear and interact with our clothes. This to me is a brilliant display of sustainability.

What are you working on at the moment?  

At the moment I am working on a collection that has been inspired by my ancestors’/grandparents’ history. They lived in Egypt at a time which has been described to me as magical. My grandmother gave me an item of clothing that was apparently my great aunt’s mother’s, and was given to her by a princess when she worked in a palace. My collection has been inspired by this particular piece, along with the fantastical images I have made up in my head based on their stories since I was a child.

INTERVIEW WITH FASHION CAMILLE LEON

Coat by Sydney-based fashion designer, Gemma Anastasiou.

Fashion Camille Leon is the blog of Melbourne-based fashion journalist Camille Gower. She was kind enough to attend The Ethics of Style's opening a few weeks ago and has been a wonderful support of my work. She asked me a few questions for this post on her blog, and I thought I'd upload the full interview here on Colour Me Red. 

What message would you like to convey about the importance of promoting sustainability in fashion design?

If we want people to embrace sustainability in fashion design, we need to offer them design that doesn’t sacrifice anything in order to be sustainable. It needs to be made well; it needs to be beautiful; it needs to be affordable; it needs to tick all the boxes. No one - particularly those who appreciate fashion - is going to embrace sustainability unless it is blended with good design and good craftsmanship.   

There are designers in Australia doing amazing things with recycled materials and approaching sustainability in really interesting ways – we just need to give them a platform to get their stuff noticed. I feel like we’re slowly getting there, but there’s still this stigma attached to the term ‘sustainable fashion’ and so people avoid engaging with it. Unfortunately, some labels are only reinforcing this stigma by producing (in my opinion) ugly sustainable garments!

I would also like to add that there is more to sustainability than just creating and promoting garments made from organic or recycled materials etc. It is also about valuing good workmanship and respecting the clothing in your wardrobe. The responsibility does not just lie with fashion labels and designers – consumers need to be conscious of only buying things that they actually need / will use, and also of taking care of their purchases so that they last longer. The longevity of a garment is really important in reducing unsustainable consumption rates, so we need to start appreciating the clothes that we wear and learn to make do with fewer, better quality items. I hope that the fashion displayed in The Ethics of Style exhibition prompts people to begin living by that old saying, ‘quality over quantity.’

What prompted you to put this exhibition together?

The Director of The Light Factory Gallery, Margot Tasca, approached me back in October 2012 re. guest curating. She knew she wanted to do something relating to sustainable fashion, but she wasn’t too sure how to approach it – so she asked whether I’d like to spearhead the exhibition. I jumped at the chance, because I felt I could offer a fresh point of view and I was really thrilled to be entrusted with so much responsibility.

I knew from the beginning that I wanted to prove to people (and myself) that sustainable fashion could engage in creativity while also being functional, stylish and aesthetically pleasing. I was adamant on finding fashion designers that were approaching sustainability in unique ways and I wanted to complement their designs by also showcasing beautiful fashion illustration. Another reason for including fashion illustration in the exhibition was to appeal to a broader audience – I wanted to reach people who wouldn’t necessarily visit an exhibition showcasing only sustainable fashion design.

The response has been really positive; a lot of people have expressed their surprise at the quality of the clothing on display and how it doesn’t look ‘sustainable.’ This has been really great to hear, because that was one of my main objectives – to show people that clothing can be beautiful and ethical, and that it needn’t scream, “I’m sustainable!”

What are your thoughts on the current Australian fashion landscape, with regard to the sustainable design sector?

The thing is - being a small industry - I often find that the Australian fashion industry (particularly the sustainable design sector) reuses and celebrates the same names and doesn’t embrace new, innovative talent. It is a bit ‘safe’ here if that makes sense, and we often see the same types of things over and over again. The problem with this is that it tells consumers that there isn’t an array of better, more interesting alternatives to fast cheap fashion. Major fashion publications, designers and industry bodies need to embrace sustainable fashion so that it moves away from being an ‘alternative’ and becomes the best option for consumers. For this to be possible, we need to encourage emerging designers to explore sustainable techniques - in my opinion, every fashion design school / course should have a strong focus on sustainability so that Australia’s future designers are familiar with the opportunities and challenges surrounding this type of fashion design.

If we embrace sustainable fashion labels that have a code of ethics and that provide stylish designs, we will eventually encourage people to reject mass production and to stop supporting the cheap fashion labels that offer short-lived garments destined for landfill. I think we have a long way to go though – the fact that Swiss chain retailer H&M is rumoured to replace various smaller, local fashion labels in Melbourne’s GPO building is testament to this. People are still stuck in this ‘hungry for a bargain’ mindset – which is interesting, because often buying poor quality garments results in you having to replace them soon after their purchase. People need to contemplate whether they’re actually saving money at all by shopping at these large, cheap chain stores!

How do you think we can promote further sustainable and ethical design within the local industry?

Well, firstly, I think we need to understand that good quality garments have much more potential than we give them credit for. Designers that have the talent to create beautiful clothing should start playing with old garments/materials and attempt to find news ways to refashion them into more modern and attractive pieces.

The exciting thing is, there are so many different ways to approach sustainable fashion design – the three designers showcased at The Ethics of Style for example, highlight various alternative dyeing techniques and methods of incorporating second-hand garments into their designs.

I actually think using recycled materials is a great opportunity for emerging designers with small budgets to make the most of the minimal funds they have. Sydney-based designer Rachael Cassar has found gorgeous old materials and garments from antique auctions and deceased estate auctions… Melbourne-based designer Joseph Jang has made amazing avant-garde pieces from second-hand jeans found in local op shops… The only real limitation is one’s imagination!

I also think it’s important for designers to think less about producing seasonal collections that have a use-by date, and place more emphasis on producing trans-seasonal collections that appeal to people for longer periods. Of course summer and winter seasons demand different kinds of clothing, but designers need to start producing clothing that can be worn year after year. Instead of just emulating the styles of times past, designers and fashion labels should also emulate the high quality of those items, so that their wearers can get more use out of them.

All these elements help slow down our fashion industry and help promote more sustainable and ethical design.

Since the Rana Plaza (garment factory) disaster occurred in Bangladesh earlier this year, I’ve noticed a greater - and much needed - focus on the ills of fast fashion in public dialogue and the media. I hope this fuels greater discussion within the Australian fashion industry going forward and ultimately sways people to embrace ethical practices.

The important thing to remember is that fashion designers and labels need to cater to consumers’ needs and desires in order to succeed – so if consumers start demanding ethical alternatives to fast fashion, designers and labels will then need to step up and provide these options. So to tap into a major cliché, it is up to us to steer the future of the Australian fashion industry into a more ethical direction.

YUGE YU INTERVIEW.

PHOTO BY PATRICK MCCARTHY

A little while ago, I had the pleasure of working with a beautiful, young woman by the name of Yuge Yu. She recently launched her fashion label, YUGE, and kindly agreed to answer some questions regarding her creative lifestyle and debut collection. 

Previously working as a lawyer, you have made quite the change in terms of your career path. What influenced you to leave your profession, and to then design your first fashion collection?

There was never one definitive reason for moving away from practising law - a career that I loved and had worked so hard to excel in that at one point I was pretty convinced it was what I would do for the rest of my life.  At the time, I felt there were many things happening in my life that called for a change; forging inspiring new relationships, moving states, experiencing a terrible home burglary and of course, a growing desire to explore working within a more creative environment. It was on the back of this sense that I decided to move towards a paralleled yet alternative passion of mine in design and fashion.

It was my partner David who really encouraged me to explore this other side of me. The pieces of clothing that he always complimented me on were the ones I had made back when I was 18 or 19 years old, so from there, I started sketching designs - a few of which were loosely based on those pieces I’d made a decade ago.

You have a unique space in which to showcase your product here in Melbourne; could you tell us more about that?

The beautiful building on Chapel Street has always been a place where David and I have based ourselves for work, but a little bit like the elves and the shoemaker, we’ve always done so hidden from the public eye and have been able to rattle around in our own little world – actually we’re probably more like the Addams family in their spooky old house!

The space has gone through several transformations since it was built at the turn of the 19^th century, originally the Prahran Arcade and it went on to house Turkish baths, the old Dan Murphy’s, and a host of artists’ studios.

For me to now be able to showcase my clothing from one of its enchanting ballrooms is extremely special and it's also a privilege to be able to put it out to the public in a way that I had always envisioned. It does though cast a great responsibility to ensure that my clothing, how it’s displayed, and the traffic through the space is also sensitive to the existing subtleties of the building. 

What have been the benefits of working within a creative community? Do you think that being surrounded by creative people, such as your partner and artist David Bromley, has helped you to develop as a designer?

I am surrounded by painters, designers, illustrators, photographers on a daily basis around the studio and I find that this mix of creative energy, which isn’t primarily based in fashion, has really helped me carve my own path. This path has a strong focus on building a unique identity and a product that in a sense is more about artistic expression rather than it being driven by seasonality and trends.

David, whilst he is the ultimate aesthete, is also such an inspiration and collaborator in all aspects of building my label - from design, to merchandising to business planning, production and liaising with stockists and suppliers. We brainstorm everything together, in each of our business and creative ventures. I find that without our daily talks, I can otherwise allow my lawyer trained mind to take over, which can be a bit too devil’s advocate, a lot less playful and definitely not as adventurous!

You tend to use natural fibres in your designs, and have also mentioned that you would like to make clothing that is transeasonal…

What are your thoughts on the need for a more sustainable garment industry - do you think that people should be more mindful of their consumption habits?

I think that I’m a real consumer; I love new products, gadgets, clothing, shoes... I love innovation and functionality and I love beautiful things and I think being spurred by these ideals in many ways makes me very mindful of what it is I choose to purchase.

I find that making clothing with a very strong seasonality and trend driven direction has the potential to make the previous season redundant. Both designers and consumers can be more mindful of how the garment industry is progressing, by creating and purchasing pieces that are imbued with a sense of longevity.

Do you believe there is more room for new labels in this competitive market?

I absolutely do, otherwise I wouldn’t be here!

I used to tutor a lot at university and one of my introductions to my students was always that they should look around in class and see that there are hundreds, if not thousands of other students in the same year as them, graduating around the same time as them, all pursuing and seeking out to carve a path. Now was the time to start thinking about how they could set themselves apart. 

I’m not sure if it stuck with anyone, but certainly I think knowing in the back of your mind that just studying, just working, just creating without considering what is already out there can stifle creativity and that the opposite, being aware of your competition can reap great insights into what is missing out there.

What have been the challenges surrounding the launch of your label, ‘Yuge’.

It’s been a real rollercoaster ride launching my label, with challenges at almost every stage of the process! Quite honestly though, overcoming the challenges has been what’s made the entire transition into a new industry so fulfilling.

Production was quite the undertaking and I found that in launching my label, it soon took a large component of time and energy away from designing and managing the brand. Being pregnant throughout the entire process didn’t make things any easier either!! It was however one of the most rewarding experiences to finally receive my pieces in multiples, to see them hung beautifully and to have others wear them, enjoy them and make the pieces their own.

How does commercial viability affect your creativity?

I’m actually very pragmatic with the financial side of my business and am well aware of the constraints that commerciality has on the extent that I can create.

Ultimately though, commercial success was never a determining factor in the underlying ethos of my label and so I set about working on a small scale, very much at home on the sewing machine. By doing so, I had greater freedom to experiment, play with fabrics, cuts and by the time it came to undertaking production, I had a clear focus in mind as to what I would put out and portray to the public.

It’s put me in good stead moving forward, as I’ve learnt how to really manage and balance the line between creating something that is unique with the mechanics of then producing them for a wider market.

Finally, what is your vision for the label, ‘Yuge’? How will it be available to the public going forward?

In developing the label, I’ve moved towards a more bespoke direction in ongoing designs - particularly with the artists’ studio environment in which I work, where I’m surrounded by the hand-hewn, hand-embellished and one of a kind.

It has always been my desire to create clothing that will become a standout and a staple piece to be personalised by the wearer.

Beyond my current stockists, looking ahead, I’m really excited about my new website www.yugeyu.com, which will have beautiful galleries of images and an online shop outlet. Watch this space.