Comme des Garçons Spring/Summer 2014

When reviewing any fashion show or simply viewing it, the audience must take a number of factors into consideration, knowledge in this instance holds power of critique. Firstly, the audience must have knowledge of the creative director's past work and their vision for the brand. Secondly, to familiarise themselves with the brand itself. Anyone who knows of the Comme des Garçons label is aware of the brand's aesthetics - that it is a brand which deals with the unconventional and avant-garde aesthetics within fashion. And so, for anyone who has not come across the work of Rei Kawakubo, it may be a shock to learn that Comme des Garçons has developed a cult following over the years simply because of it's rejection of the aesthetics of mainstream fashion.

The way in which Comme des Garçons manifests itself each season is something truly exceptional. It is always unexpected and distinctly different from the hundreds of collections presented every year. The mood at the latest collection was extremely dark for the most part. Even the pink and white garments still did not promote any light or brightness, it was still very much dismal. In the last few seasons for Comme des Garçons the garments have felt extremely conservative in the way that the garments have created a trapping around the model. These garments impose themselves onto the audience, they scream and demand that the audience's concentration of attention on them and them only. This collection was strict and disciplined in the sense of it's aesthetics and it's interpretation.

Yet Kawakubo's offering this season felt like a re-interpretation of seasons past. Instead of creating something entirely new, it felt as though it was an adaptation of the Comme des Garçons past collections and a re-issuing of their collections in a way which would conform to our social system nowadays. Although this collection did feel much more cleaner and pragmatic than past collections. It is also interesting to note that Kawakubo's offerings never feel wrong or awkward to a fashion audience. It's simply accepted and taken as another initiative as challenging the limitations of fashion and it's relationship with art. It all but seem's as if Rei Kawakubo in this world, can do no wrong. Perhaps it is because of the violent distress that each collection portrays in comparison to the other designers at Paris Fashion Week that Comme des Garçons and it's namesake is so readily praised in it's entirety.

Images from style.com. View the full collection here. 

Christian Dior Spring/Summer 2014

The past few seasons at Dior have proved that Raf Simons is not concentrated on re-creating or re-inventing silhouettes but instead, he has focused his attention the way in which the silhouettes are constructed.

As opposed to his last few collections both at Jil Sander and Christian Dior, this collection was much less refined and bearing the bones of the industry. This was both present in his set, decadent flowers hung from the ceiling and peaking through a builders scaffold, as well as his garments which contained unconventional cutting techniques and embellishments. Through the simple process of cutting in a different manner, Simons' was able to transform a traditional centred keyhole into a much less imposing ornamentation on a dress. It was clear that Simons' drew inspiration from his early 2000 menswear collections under his own brand, paying homage to his obsession with military uniformity. There was a feeling of unity and totality within the collection.

However some of the fabrics used lacked movement and thus, an understanding of the characteristics of the fabric themselves. This was interesting as his last few seasons, particularly the Spring 2013 collection, showcased beautifully draped metallic organza which moved down the runway in a way which broke the structural limits of such a textile. Simons is a designer who understands the importance of textiles - their strengths and limitations and so it was strange that he would make such a rookie mistake which left some of the models awkwardly shuffling down the runway.

The palette of Dior this season was much less ethereal as it was characterised by a much bolder and strengthened assertion on the audience, rather than dissipating into the grand scheme of things. Simons' is finally starting to assert his chosen identity for the brand of Christian Dior, rather than concerning himself with paying an homage to the past. Dior will only continue to progress forward as a more united distinction and assertion.

While the collection was easy on the eye, one thing that has proved to be a rather arduous task during Raf Simons' reign at Christian Dior is the casting of models in the runway shows. Strangely enough Christian Dior was not named and shamed in the letter that the Diversity coalition penned in regards to the Paris womenswear show, however Christian Dior does indeed appear on the Paris list published on the website.

6 models of colour and Asian descent is not deserving of the title of a diverse casting of models. This act by the casting director, creative director and the brand of Christian Dior, no matter what the intention, is racist and more importantly ignorant. There is no diversity that exists within showcasing one model of colour followed by 10 or so Caucasian models and one Asian model followed by another 10 or so Caucasian models and so forth. It is nonsensical to claim this cast as being diverse simply because of the presence of 6 models of Asian descent or models of colour as opposed to having none. It simply showed a lack of awareness and ignorance.

Images from style.com. View the full collection here.

Dries Van Noten Spring/Summer 2014

Amidst all the fuss and rapid rate of fashion week, Dries Van Noten's collections always seem to slow down the atmosphere as it encourages the audience to take time to reflect upon the madness that is fashion week. While there seem to be the two polar opposite aesthetics of excess and extravagance vs minimalism and reductivism, Dries Van Noten's latest collection perfectly contemporised the two.

Van Noten referenced the opulence and wealth of the overabundance atmosphere which the fashion industry portrays and pinned it against the impoverishment of those with less in his collection. Looking through the collection, it told a story which depicted the struggles of socio-economic classes both in the present, past as well as future. With each collection, Van Noten tells a story, it is not always marked by joy or happiness however, it always has a sense of purpose. This also pertains to his collections, they are incessantly commemorated by a sense of purpose, each piece is able to hold it's own against the beauty, styling, background and even the endlessly busy nature of fashion week.

Dries Van Noten re-defines the western doctrine of luxury and opulence, luxury should not be staged or boasted rather it should be understated and intrinsic. The embellishments of the gold pleating and hints of bead work on the tops and skirts, imply and hint at the luxurious nature of the Dries Van Noten woman. The structures of many garments are not tough and fixed, instead gentle and kind to movement, allowing freedom to the wearer as Van Noten wishes not to hold a distinction between the wearer and the garment. Instead granting the wearer and garment to develop a much more organic relationship.


Images from style.com. View the full collection here.

Prada Spring/Summer 2014

Miuccia Prada has always been a woman in fashion with distinctly directional aesthetics for her two brands, Prada and Miu Miu. This season for Prada proved to be no different, as Miuccia Prada's ability to express her words and opinions of social contexts through fashion design is unparalleled in the industry. The collection was intellectual yet, not entirely serious, it was comical in it's ability to take an assortment of unlikely colours and textures.

The use of prints on garments drew a reference of the propaganda used by Communism and was a reminder of Miuccia Prada's past role as secretary of the Milan Communist Party; it was a nostalgic resonance of the past and what is to come in the future. Miuccia Prada used the clothes and colours as a blank canvas to spread the propaganda of feminism and empowerment of women in the same that the Communists used the colour Red predominantly in their propaganda posters. These clothes acted in the same way as paste-ups on a wall, contending the role of women in today's society.

The opaque comical boldness of the colours, together with the designs, spread a message of the feminist movement juxtaposing the sonority with the great consequence of women today. Perhaps, her message for the world is the present occurrence of the new 'domino effect'. It is interesting that she utilised these references to Communism in such an empowering manner. This collection represented the utopian world and innovative nature created by the feminist movement, again, a play on the ideology of Communism - aiming for an achievement of utopia .

In some cases there is often blind praise for Prada because of its namesake, however this truly is a collection which challenges your understanding of fashion. The audience views one of two things from such a collection: pieces of material or a movement. To understand it as a piece of material, is simply fine however superficial and shallow in its capacity. To understand the collection as a movement, is one which gives life to both the viewer and the clothes, as well as facilitating that movement, the viewer becomes introduced to the collective of that movement, thus, creating an mutual commodity.

Prada has destroyed the boundary that is superficial nature of fashion that is blasé, and produced a collection which is radically seditious. This collection captures the essence of intellectual nature of fashion design.

The Prada look is after all, defined by its fashionably intellectual content.


Images from Style.com

Rodarte Spring/Summer 2014

"Inspired by L.A and California", let's stop there. Rodarte in the last few years has been a brand which is notorious for it's exploitation and questionable appropriation of Aboriginal art and factory workers in Ciudad Juárez, one of Mexico's most violent towns. The Mulleavy sisters somehow think that this is "edgy" however, in reality, a line has been crossed and this recent collection depicted their attempt to venture away from inappropriate appropriation. I honestly do not understand this recent desperate attempt of a collection by the Mulleavy sisters, to me it seems like a lot of leopard print with a motley assortment of so-called "edgy" designs. The collection as a whole feels extremely awkward and disproportionate when worn. 

Although I understand that their vision of Rodarte to bring forward fashionably provocative pieces every season, this collection simply is fashionably inept. It was an ennui of looks which proved to be cheaper and inferior interpretations of Saint Laurent by Hedi Slimane.

Perhaps, Rodarte Spring/Summer 2014 is a representation of the Tumblr famous sensation known as "soft pastel grunge". 

Images from style.com

The Business of Blogging Part 3 - Ethics

Net A Porter's Fashion Blogger Magazine issue, Spring/Summer 2011
Source: http://insidefmm.com

Personal style and style bloggers are taking the fashion industry by storm, many at the top have gained an international following with hundreds of thousands of followings across social media platforms such as Facebook and Instagram. Bloggers nowadays are entrepreneurs more than anything. We, readers, have an insatiable need to gain an inside into the luxurious and fast-paced world that is the fashion industry, as these fashion bloggers become increasingly popular, it makes you wonder if they'll eventually turn into one of those celebrities which you see promoting a new 'quick and easy' weight-loss method or in other words, simply sell out.

When I attended Industry day at Melbourne Spring Fashion Week, one woman brought up the point to Phoebe Montague of Lady Melbourne that she was confused what a fashion blogger was, she thought it was someone who shared their opinions and insights into the world of fashion. While personal style bloggers do often carry that aspect, I do believe it has somewhat been more or less corrupted.

Through a personal style blog, a blogger creates a community. It is a community dictated by conversation and an intimate relationship between viewer and blogger is established the conversation. It's essentially a source of organic media. I say this because to be a blogger, no one is really paying you - although some bloggers are now earning money but to monetize your blog, you eventually fall under the category of entrepreneur rather than blog. However, no one pays you to stay up until 1 am writing a review of a show that you have just attended and assembling your photos for a post. There is a trusting equilibrium balanced between viewer and editor of a blog.

It is of course not wrong nor is it corrupted when a blogger decides to monetize their blog in an ethical manner. Nonetheless, some bloggers seem to forget the importance of blogging ethically.

Most bloggers these days are ethical enough to state when they have been sponsored for a post or if they've received a PR gift or sample (and although sometimes that may be hidden in a small corner) it is still stated. However, when bloggers monetize their blogs simply for the money and do not provide a transparent attitude towards their blogging ethics, it becomes problematic.

One blogger I truly admire for their ethical and truthful approach is Ivania Carpio of Love-Aesthetics. While I'm sure everyone is truly in awe of her amazing minimal style, one of the reasons why her blog is so independent and successful is due to the fact that she is truly open and transparent to her readers about sponsored posts and 'advertorials'. She writes, "independence, editorial freedom and honesty are the core values of blogging. It's what makes (fashion) blogs so relevant and sets them apart from other mediums." This transparent attitude to monetizing her blog depicts her to the viewer as an approachable and honourable blogger.

After reading Ivania's brilliant ethics page, I came across the blog PR Couture and their shop. One of the many things I came across something called a "Fashion Media Bundle". Something about this simply didn't sit right and so I became increasingly curious and wanted to find out more. As I read on about the "Media Bundle" it stated the following:

"Snatch up more than 200 of the most coveted fashion editors and bloggers in the biz. You'll get 36 Print & Online Fashion Accessories contacts, 50 Fashion Blogger contacts, complete with social media links... with more than 100 editor emails for a cool $297"

Let's talk about this for a second. From what I can tell, you basically just get a list of email addresses and URL's to social networking platforms of fashion bloggers and editors. Their guaranteed promise however says absolutely nothing about establishing relationships through this media bundle but instead guarantees the accuracy of the list. Wow! For $297 what a bargain for all this information! It's not like I could simply search up Vogue and look up the emails for their senior fashion editors? I mean that's just simply impossible right.

This is simply manipulative and preying on the weak. It leads consumers (assuming their target demographic is fashion bloggers who have just started a fashion blog) to believe as though they are buying a media relationship and not simply a list of names and email addresses. But than again perhaps, that's the point. They're trying to sell the idea of an established relationship with some of the most internationally recognised fashion magazines in the world. Nevertheless, this is simply unethical. I feel sorry for those of you who are willing to fork out a ridiculous $297 for a list which you could put together yourself with some dedication, time and effort. This is also selling public knowledge. These email addresses are not private and are easily accessible by anyone who knows what they're looking for as well as where to look.

I must disclaim that I have not seen this "Fashion Media Bundle" and so am not sure if it simply is a list of names, emails and URL's however, if you're willing to throw $297 away, be my guest!

This is simply wrong. It's unethical and it's deceitful.

Inevitably a fashion blog is concerned with it's readership and establishing a relationship with them. For this reason, transparency and honest are two of the most ethically valuable principles of a fashion blogger.

Final thoughts on Kara Liu and Jason Alexander Pang

It's so rare to have the opportunity to chat to a designer who is still organic and has not yet been influenced by the pressures of production and the notion of excess is better, there is a certain sense of transparency in well-established  and serious emerging designers that many of the top designers in the world have unfortunately lost. Kara herself told me that right now, her and Jason are just both trying to establish a name for themselves in the fashion industry and that right now, it's not about money. Nonetheless, she and Jason both recognise the importance of generating a revenue in the long term to be sustainable as a brand and creative force in the industry.

I asked them both what stores they would like to see stocking their respective brands in Melbourne and Kara replied "Green with Envy" and Jason, "General Pants" (although I still think that he could definitely go for Marais - I believe that sort of demographic would respond extremely well to his brand). It shows that these two designers are not just your typical self-proclaimed "passion for fashion" designers, but instead through their brands they are trying to say something and present something unique to present to the fashion industry.

Jason listed his influences as Givenchy by Riccardo Tisci, Mary Katrantzou and Dries Van Noten among others and Kara, Céline by Phoebe Philo, Jil Sander (presumably by Raf Simons as well as Jil Sander herself) and Marques Almeida. Their influences are extremely obvious in their work if you are familiar with the designers' but at the same time, their work is far from being a copy of their influences' work. It was interesting that Kara listed Marques Almeida as being one of her influences as it shows that she is not simply a clean-cut minimalist designer - she is also fascinated with deconstruction, which once again displays her knowledge and want to truly know the fabrics she chooses for each collection.

They both have strong ethics attached to their fashion brands and they also truly believe in their brands. I have a lot of respect for both of them to try and establish themselves in an industry which is notorious for habitual scepticism at a time when fashion is struggling with it's identity of quality vs. quantity.

I was so fortunate to have had the opportunity to meet both Jason and Kara, they are both idealistic young designers with so much to offer the fashion industry.

Thank you both so much for having me and welcoming me into your showroom. I was extremely honoured to have had the opportunity and it was inspiring to have met you both. I wish you all the best in the future and encourage you both to keep progressing and growing as designers. I look forward to meeting both of you again!

To view more of Kara's work head over to her website and head over to the AM.XANDER website for Jason's work.

KARA LIU Fall/Winter 2014

Kara Liu is an extraordinarily meticulous designer. After having interned for Alexander Wang, she is back in Melbourne to present her latest collection. Kara's design aesthetic was minimalist yet not entirely simplistic. Her collection featured beautifully crafted garments with exceptional attention to detail. Her freedom and independence from so many other minimalist designers in the world is marked by her precise accordance with details - whether it be concept, production or presentation, Kara is a designer of distinction.

The Fall/Winter 2014 collection featured a bold yet soothing palette of colours which, in turn, provided a succession between the fabrics, textures and fluidity of her designs. Kara's work is concerned with textures and unparalleled subtle detailing. Her ability to transform simple basic pieces in any woman's wardrobe into sensory stimulating mediums by deconstructing traditional texture and textile relationships - this is what concretes her progression as a designer. Kara understands her textiles in a way which few designers do - she understands the structural and fluid limitations of some fabrics and takes full advantage of the strengths of her chosen textiles.

Apart from being a designer of distinction, Kara Liu is one of intelligence as well. Her designs capture not only the brand that she wants to present to the fashion industry but also one which is of her own; her own persona. She is a smart and savvy designer who is able to qualitatively recognise the strengths and limitations of any concept and ideology. As a designer, Kara has an extremely candid vision for both her brand and the 'Kara Liu woman'. She wanted her Fall/Winter 2014 not to hold a monopoly of their own in one's wardrobe however have the quality to be able to easily integrated into one's wardrobe to create a unity between their existing pieces and pieces by Kara Liu. This in particular, is something that I have never ever heard a designer say before. More than anything, Kara wants her buyer and consumer to have the ability and freedom to shape their style with the assistance of Kara Liu garments.

The KARA LIU label is defined by it's practical intelligence yet fashionable patronage. Kara has been able successfully translate her own persona onto the garments - her brand is not only one which bears her name but truly encapsulates the spirit of Kara Liu.

Make sure you all visit Kara's website and like her facebook page as I'm sure she we will be seeing much more of her work in the future.

AM.XANDER Spring/Summer 14

Yesterday I was invited to the showroom of KARA LIU and AM.XANDER's 2014 collections and I had the absolute pleasure of meeting two extremely creatively and conceptually elevated passionate designers, Kara Liu of KARA LIU and Jason Alexander Pang of AM.XANDER. As graduates from Melbourne's prestigious fashion institution, RMIT, they both have strong directional aesthetic envisioned for their respective brands.
I'll be featuring their collections separately, first up is AM.XANDER Spring/Summer 2014.

AM.XANDER by Jason Alexander Pang

Following an internship with one of fashion's most respected print mavens Mary Kantrantzou, Jason launched his Spring/Summer 2014 collection and it is nothing short of astounding.

Jason manages to perfectly encapsulate high fashion menswear and street menswear thus, offering a dynamic equilibrium between the two. He wanted to strip down the culture of print in the fashion industry - taking it away from the floral plague and regress it back to the basics. Jason's work contends the interplay of commercial, approachable fashion with the innovation and progression extended by high fashion labels. Although his work is primarily concentrated on prints, he equates prints with surpassing detailed tailoring and textiles.

His Spring/Summer 2014 collection featured a collection of prints that were each more individualistic, futuristic and culturally relevant than the one before. The basis of his prints were inspired by the male dominated sci-fi gaming culture of modern day society. The contrasting notions of rawness and liquidity between his prints and textiles provided the perfect basis for the consumer of his garments to be worn without extreme extravagance and flamboyance. The relationship he develops through his collection with his consumer is a rare one as he portrays modern culture and values of society in a specific time frame through his garments, his consumer is ultimately wearing the past, present and future.

The fabric composition of his collection, polyester, is a choice which demonstrates his mature understanding of fashion as a designer. Working primarily with a medium of print on garments, Jason is able to recognise the importance of textiles and the importance of be able to advance the longevity of his garments.

AM.XANDER is a label which recognises and bridges the menswear gap between candid street wear and high fashion which represent the two notions of commercialisation and conceptualisation, while exploring the necessitated respects of today's society.

AM.XANDER is a true and honest representation of the democratisation of fashion.

To view more of the AM.XANDER Spring/Summer 2014 collection head over to the website and make sure you all like the facebook page aswell!

Altuzarra Spring/Summer 2014

Altuzarra's collection was much more interesting, it was nice to see that he branched out of his usual fuss-free aesthetic that he's most comfortable designing. While the collection did still carry many interpretations of this aesthetic, I found the collection to be anticipated for a younger and more constraint audience than his previous collections. Yet this collection still lacked defined innovation for the Altuzarra label. With a name like Altzuzarra, I expected nothing short of raw and edgy, pieces of clothing which would be able to impose their opinion on the audience.

There was nothing new or unique about the silhouette of the garments and the tousled fabric over the waists of skirts seemed messy and unnecessary. Thus, the entire collection appeared to be an unruly assortment of ideas.

Nonetheless the velvet used to create many of the skirts, was accentuated beautifully by the drapery and tousled nature of it's use however, I'm not too sure how appealing this would be to accentuate this area of the body. It was perhaps nostalgic of the infamous Comme Des Garçons Spring/Summer 1997 collection often referred to as Lumps and Bumps in which Rei Kawakubo aggressively and shockingly challenged the traditional perceptual boundaries of the female form, volume and space.

Prabal Gurung Spring/Summer 2014

I had heard so much about this collection from various people on Tumblr, everyone was talking about Prabal Gurung, and it was mostly due to the fact that there were obvious influences in his collection from international designers such as Raf Simons for Christian Dior.

I have to admit that I do not hate this collection. There is nothing particularly innovative nor distasteful about this collection however it did get people talking about Prabal Gurung and although this may be fairly negative publicity, publicity is still publicity. I've never really paid much attention to Prabal Gurung as a designer because I do not feel his work constitutes what I value most about fashion which is progression and independence. While I'm glad for his extremely successful dependency on mass appeal, Gurung is in my opinion one of those designers who just make pretty clothes.

In the late 1960s a system known as "line for line" was introduced as couturiers sent their original designs abroad to be copied by retail stores for a fee. This relationship was most notably developed between the fashion industry's of Paris and New York.

In the same way, Gurung's collection was perhaps a "line for line" inspired homage to the some of the world's most coveted brands and labels - an homage to the Raf Simons' of the world.

After all, imitation is the sincerest form of flattery.

Images are from style.com

Alexander Wang Spring/Summer 2014

There was something very unsettling about Alexander Wang's Spring/Summer 2014 collection. I don't think this is a representation of his best work, but instead a collection created for economical purposes. But then again because of his appointment at Balenciaga perhaps I was expecting too much of Wang this season.

This collection is more or less what high end commercialisation looks like. Yet his use of branding in this collection is extremely interesting and perhaps represents the way in which fashion and consumers of fashion have become brand obsessed. Obvious branding such as the use of monograms has long graced the fashion industry as a form of our mentality to brag about or show off what we have and our affluence -  in the same way that in history it was desired to be fat as it showed wealth.

There is no doubt that this collection however will be extremely popular among many, it's fun and witty but most importantly it's very Wang.

Someone asked me whether fashion was about progression or regression, I think in the case of Alexander Wang this season, he regressed to his origins as a designer of casual street style. Nevertheless, I admire his ability to stay true to his origins, his original aesthetics as a designer and the Alexander Wang brand.

Images are from style.com

MSFW Industry Day Part 2: The Plenary

As many of you will know, I had the absolute pleasure of attending MSFW Industry day on Tuesday.

The day started off with the Plenary which discussed the reasons behind Australia's stable market growth despite challenges in the retail sector hosted by the ever so entertaining Zara and Troy Swindells-Grose of Humour Australia.

The Plenary opened with one of the most inspirational speakers of the day, Gillian Franklin. She is a determined, passionate and persistent woman with a commitment to supporting women in business. Her own company, the Heat Group, turning over approximately $130 million in retail sales annually, proves her reputation as a successful business owner. Yet despite this, Franklin is a humble woman dedicating her time to empowering women in business.

One of the key points she spoke about was the issue of women in business, and as a member of many male-dominated boards such as the Australian Formula 1 Grand Prix, she recognised the importance of gender equality within the workplace. However instead of approaching this gender issue as an gender issue, she approached it from an economical standpoint, stating that women contribute more to the economy than men.

The second half of the Plenary focused on the topic, fashion today: the good, the bad, the .... featuring some of the most high-profile members of the retail industry in Melbourne today:

• Vicki Stirling of Sunrise Junction, a fashion industry brand and business development consultancy company
• Michael Wittner, co-CEO of Wittner shoes who I'm sure all of you living in Australia have heard of
• Helen O'Connor, designer of Thurley
• Elysha Sullivan, senior buyer at Levi's Menswear in Australia 

While they all came from different backgrounds of the retail industry, it was interesting to hear the different opinions and views on Australia's retail industry today.

A range of topics were discussed such as whether a traditional in-store shopping experience was more valuable than e-commerce retailing and integrating the use of social media into retail which all fell under the umbrella term of retail consumer habits.

Everyday I'm bombarded by advertisements whether it be emails from websites or shops which are having sales or have just stocked new pieces for the season ahead, the consumerist nature of our society is engraved in our sense of entitlement to have more - whether this concept of 'more' is quantitative or qualitative, we feel a sense of need and necessity to have it. Companies and marketing teams recognise our need for more and prey upon that, however it's not all bad for us consumers out there, we are becoming more educated about retail consumer habits too!

Thurley's Helen O'Connor pointed out that David Jones used to do one big sale season annually which lasted for around 6 weeks however have completely restructured this program. The reason behind this? Consumers are becoming more educated and as a result, David Jones found that consumers would shop more during this season and because things are discounted to the lowest of lows, it would continue to eat into their profit margin. She also spoke about the dangers of educating the consumer. 

The relationship between a consumer and supplier therefore can best be described as a game of deceit. 

We, consumers, know when the sales are going to come, it's predictable because they're based upon seasons. At the end of a season a sale will occur in order for the store to clear their stock and make room for new stock and while retailers are of course still making a profit, it is much less than what they would've made if the items were priced at full price and not sale prices.

However, many of the high-end stores such as Prada recognise this issue. I've been told by the manager at the Prada store in Chadstone that Prada sale seasons are extremely unpredictable and that the store only finds out a day before the sale starts. Whether this is true or not, this marketing tactic ensures that they are able to minimise the loss in their profit margin.

Michael Wittner of Wittner shoes also highlighted the importance of wording when it comes to marketing. On the Tuesday, Wittner ran a one-day only promotion as an homage to MSFW Industry day, declaring that customers would recieve a $20 bonus on full priced items. The key word being, bonus. As the use of the word bonus carries a much positive connotation than discount, the consumer feels as though they are being granted $20 for free and let's be real, who doesn't love a freebie? It's cheeky but it works.

Vicki Stirling of Sunrise Junction also spoke about the importance of the retail experience for a consumer. That retail is not simply about the product anymore however encompasses a whole range of factors. Through the use of social media for example, customers can be made to feel a part of the retail experience and brand. For example, Wittner and many other stores' use of Instagram in which users are encouraged to post photos of their shoes from Wittner and hash-tag them with #Wittner, it's now about building a community and building an intimate relationship between the consumer and retailer.

Also, Pop Up shops. Why are they a thing all of a sudden? Pop Up shops in the same way build an much more credible relationship between the consumer and retailer, while also feed our mentality of needing more and needing it now. Pop Up shops are non-permanent retail locations and for brands, this works extremely well for both consumer and retailer. Pop Up shops are often placed in locations which are easily reachable by consumers and often do not contain full-priced items but sale items. For the retailers this method works extremely well because for Pop Up shops they do not need to design any extra pieces or introduce new stock, it is simply utilising old stock in a new location. Yet because Pop Up stores are non-permanent, it creates a sense of urgency for the consumer - that you'll miss out if you don't go and visit straight away. Promotional and collaborative events as well as the all too popular "limited edition" label work in more or less the same way.

At the end they very quickly touched on the issue of sustainability and environmental factors which have either resulted from or are effecting the Australian fashion industry, Vicki Stirling condemned the fast-fashion industry and it's impacts on manufacturing in Bangladesh. I then heard a woman behind me complain that people choose to buy commercial fashion because they'll only wear it for a season and it'll be out of fashion. And so to all of you who may be on the same train of thought as her, please read my post entitled "fashion is a waste of money".

Finally, for your own sake as a consumer, be smart about your consumption.

This will unfortunately be my last post as a part of MSFW! I have had the most amazing time during this week but there's still one day left to go! Don't forget to head over to the Hub in Melbourne City Square where there are a lot of exciting and free things! 

 Images courtesy of Hobo photography.

MSFW Industry day Part 1: The Debate - Earned Media vs. Paid Media

Melbourne Spring Fashion Week's industry day proved that fashion is not just about clothes. It proved that social media, marketing, innovative retail are the values which determine the sustainability of the fashion industry.

I was fortunate enough to be granted a full day pass in which I attended the Plenary and the Debate, and during lunch I was able to catch up with my favourite Melbourne fashion blogger and also one of my favourite people, Hung from Antwerp Sex.

In this first post, I will focus on the debate and my second post will be on the Plenary.

The topic of debate was effectively that earned media is more bang for your buck than paid media.
On the affirmative team, arguing for earned media was

1. Phoebe Montague, editor of Melbourne based fashion blog Lady Melbourne (Team Captain)
2. Janice Breen Burns, editor of Voxfrock.com.au
3. Anton Staindl, managing director of Haystac

The negative team, arguing for paid media included

1. Sarah Stringer from Carat (Team Captain)
2. Lisa Messenger, editor in chief of Renegade Collective
3. Rene L'Estrange-Nickson, director of Advertising at Broadsheet

So what is earned media and what is paid media?

The affirmative team defined earned media as publicity gained through editorial work and emphasised that earned media is much more subtle that paid media. In addition that earned media is about providing the best experience and generating confidence in consumers. The negative team, arguing for paid media, defined it as publicity gained through paid recommendation such as advertising and PR agencies which would inevitably increase profits and result in a return in investment.

Earned Media

The first speaker for the affirmative team, Phoebe Montague, presented the argument that publicity and media cannot be bought and it must be organic in order for media to manifest itself in a way which would be most beneficial to the client. She discussed the example of Tavi's infamous hat incident at Dior Couture in 2010 when a reporter from Grazia tweeted a photo of Tavi's hat blocking her view, with the caption "At Dior. Not pleased to be watching couture through 13 year old Tavi's hat." This tweet was re-tweeted over 10.3 million times and no doubt gained publicity for not only Tavi Gevison, but Dior, Stephen Jones (the designer of her hat) and Grazia (although it may not have been good publicity, it's still publicity). The cost to Dior, Tavi, Stephen Jones and Grazia was nothing. This example is truly one in which organic, earned media, triumphed, however there is no way of knowing if paid media was to advertise this incident what would've happened. Could it also have generated just as much publicity?

The second speaker for the affirmative team, Janice Breen Burns from Voxfrock.com.au, presented an entertaining speech in which she made reference to the "bend over the desk" job. She discussed the balancing act which was the relationship between the consumer and provider highlighting that there must be a mutual trust between the two. Burns discussed the cynicism surrounding media these days and most of all paid media, using the example of advertising vs journalism. Both of these are forms of paid media, which blurs the lines between the two. As journalism stands today, it insinuates that the journalist must be only reporting on the issue or topic at hand, that is, remaining impartial and showing absolutely no bias between the two, yet presenting both or all sides of the argument, however we know that this is not always true as humans are prejudiced and do bear preconceived notions, and so is journalism truly journalism or is it just simply another form of advertisement?

This led me to think of fashion journalism and in particular the profoundly childish and unprofessional blow up between Cathy Horyn and Hedi Slimane of Saint Laurent (I will never get used to calling Yves Saint Laurent that). This issue not only highlighted the fact that most journalists now to be blunt, suck up to designers to attain highly coveted front row seats in the fashion world - fashion journalism is one which is truly dead. This issue was also demonstrated in Colin McDowell's article for the Business of Fashion, in which he examined the "sorry state of fashion journalism and why fashion need its fourth estate (fashion journalism) more than ever before." These are just two of the many examples this year in which the so-called fashion journalists have used their staked their reputations against the advertorial nature of paid fashion media.

Burns concluded her argument with a bold statement that "cynicism is a virus" in the case of paid media and this in turn devalues the integrity of both the consumer and source of media.

The third and final speaker for the affirmative team was Anton Staindl, the managing director of Haystac and he persuaded that paid media struggles to provide a subtle influential experience on the consumer. He demonstrated with the help of a photo of Miley Cyrus and Robin Thicke's infamous performance at the VMAs this year and Spanx - who apparently "let others do the talking for them" - letting their consumers and clients gain confidence in their brand and product through their reputation. He once again re-iterated the point that in order for media to work, there must be an organic, trusting relationship between consumer and supplier, that one must have confidence in both their product through organic, earned media rather than paid media.

Paid Media

Sarah Stringer from the Carat group, the first speaker for the negative team, was someone who I was seriously impressed with. It was obvious from the very start that Sarah had been in the business of media for a long time and knew how to use media to her advantage and integrate all channels of media. She acknowledged the fact that while PR agencies are effectively providing earned media, the way in which they deliver that media is through bought media. Stringer delivered the argument that through paid media, it can create a brand on a larger scale and reach a much bigger demographic through strategically studying consumer habits and enlisting a variety of communications.

The second speaker for the negative team, Lisa Messenger, delivered a hilariously unprepared speech yet with complete confidence and coherence. Through her magazine, Renegade Collective, Messenger talked about the economical side of paid media and the continuous cycle in which it contributes and sustains the various forms of media. She informed us that printing her magazine costs around $200,000 alone per issue and without paid media such as advertising, her magazine would simply be unsustainable and cease to exist. She applied this analogy to Television, Newspaper and Radio, that paid media is absolutely imperative to ensure the sustainability of these different channels of media communication.

It was interesting that she had bought up this issue because during the time between the Debate and the Plenary, I picked up a copy of Vogue US' infamous September Issue which I'm pretty sure is made up of 80% advertisements and 20% actual editorial work. Perhaps, Vogue in the same way is using the sensationalism surrounding the September Issue to fund it's other issues and side projects. I'll also be writing a blogpost about the September Issue soon, so watch out for that!

Finally, the negative team concluded with director of Advertising at Broadsheet, Rene L'Estrange-Nickson. Nickson re-iterated Messenger's argument about the economical sustainability of media through paid media and discussed the issue of paid media within the context of the fashion industry. He argued that in fashion, the goal, is to make a profit, which obviously is true as fashion is an industry. He steered the conversation again to PR however, presenting a unique perspective on the relationship between PR and paid media, stating that advertisement can generate good publicity and therefore PR. Furthermore, through paid media, it would in term generate earned media.

Nickson also introduced the argument that a proportion of Phoebe Montague's blog Lady Melbourne is actually generated through paid media, as she features a rate card on which clients are able to sponsor content to be featured on her blog. Although, the sponsored content is extremely transparent as Montague disclaims these to her readers and she stated that it is ultimately up to her audience whether or not they want to read the content which she is sponsored for.

I strongly believe that paid media and earned media go hand in hand, as paid media is guaranteed to be positive and promote as there is a compensation provided, earned media is more honest and in my opinion, generates much more credibility however may not reach a bigger demographic as Sarah Stringer stated. In our society, advertising holds an important place, telling us where to go, what to buy, what to eat and governing all our decisions in one way or another. However the issue stands that advertising is not always credible - in fact it's credibility is questionable as paid media will only address one side of the argument, the most positive side and most profitable side, whether this is lying or deceiving the consumer is up to the consumer to decide whether or not to buy into the product or service.



I would just like to state that although I was granted media accreditation to MSFW, I am in no way receiving any sort of compensation for my MSFW posts and that if I were to ever feature sponsored content on my blog, I would of course disclaim that to all of my readers.

Images are courtesy of Hobo photgraphy

MSFW: Designer Runway 2

Last night I had the pleasure of attending Melbourne Spring Fashion Week's second Designer Runway in which a number of Australia's most internationally recognised contemprary brands were exhibited including Alice McCall, Christina Exie, LIFEwithBIRD, Livia Arena, Manning Cartell, Neo Dia, Tettmann.Doust and finally YB J'Aime by Yeo Jin Bae.

This presentation by MSFW was not just an ordinary runway show however, more of a theatrical production, with eccentric futuristic dancers gracing the runway in between collections.

A fashion show really is so much more than just simply showcasing garments, while the garments are obviously a huge part of the show, there show is an experience. From the lighting, music to the makeup and hair, every intricate detail is considered to bring the garments to life.

The beauty by Kenneth Higgins from Mecca Cosmetica entitled Tangerine Dreams,  featured a graphic eye in a tangerine hue with luminous skin, subtle peachy-coral blush to create a natural flush on the cheeks, groomed brows and soft lips which complemented the minimalist aesthetic of the show. For product details visit Mecca Cosmetica's blog.

While the hair by Kevin Murphy was a modern take on the slicked back hair with added volume and tied at the bottom to create an effortless minimal effect.

Known for it's use of innovative fabrics, colours and prints Manning Cartell opened the show with a series of looks which balanced a modern contradiction of different elements. Although this contrast worked in their favour as each look was shown with  independence in design and context yet together, it was a collection that still made sense. Manning Cartell is a perfect representation of the contemporary fashion designers who are able to still appear commercial and approachable yet still maintain the reputation of a higher end brand.

Livia Arena presented a collection of garments that essentially manipulated the classic basic styles of any wardrobe. Opening the show with a simple white t-shirt and pants combo with the added twist of laser cut outs, this concludes the defining and differing factor between Livia Arena from many other brands. Livia Arena's ability to balance the perception of the past and the future is one which many designers struggle with, however Livia Arena is able to distribute this balance perfectly in every look. Utilising the fabrics as an embellishment rather than just the foundation of a garment it ensures a continuum between the wearer and the garment, establishing a rare relationship between the two. The garment becomes a part of the wearer and the wearer a part of the garment.

The brainchild of Melbourne RMIT graduate 'Life' - Nicholas Van Messner and 'Bird' - Bridget McCall (sister of Alice McCall), LIFEwithBIRD has constantly walked the fine line between conceptual and commercial, and this collection was no different. Their designs embody the resonance of modern women, with relaxed tailoring and a specific model of femininity.

Tettmann.Doust is a label that I had never heard of before however, it was one of the most interesting of the night. Their designs were avant-garde however not in the sense that they were unwearable. Tettmann.Doust drew on many aesthetics of the past and applied them in the opposite way that they had been used previously. It was clear that excogitation together with physical experimentation lie at the centre of their brand. This is a brand which is not bound by the traditional norms of commercialisation in the fashion industry, which in this day and age in Australian fashion design is extremely rare.

While Alice McCall stuck true to her brand and showcased an eclectic playful collection. Alice McCall re-exaggerates the influence of enhancing femininity in her designs. Most importantly the collection once again exonerated the seriousness of fashion as in the case with all collections by Alice McCall. McCall invites the wearer in every collection to take a youthful, fun and girly approach to fashion, and sometimes fashion really shouldn't be taken too seriously. I did also manage to spot a Balenciaga Spring/Summer 13 inspired bodice on a dress which was re-designed by McCall with the most unexpected yet courteous skirt.

Strength in design and concept is the central notion for the collection presented by Neo Dia. Opening with the most simplistic white dress and ending with 3 distinctly different green and black looks, Neo Dia has a diverse comprehension of a variety of aesthetics. Neo Dia is a label which provides elaboration and restriction in equal measure through it's exploration of sensuality and power. I applaud it's profound ability to influence attribution to the wearer through it's designs.

YB J'Aime by acclaimed Melbourne designer Yeo Jin Bae provided a testament to covetable style. With bold prints paired with daring colours, Yeo Jin Bae showcased a collection which is marked by blithe unconcern in the most fashionable sense.

Closing the show was Melbourne based and made label, Christina Exie. On the runway, the label showcases a strong presence only to be exemplified by the intensity of it's concepts and modern directional aesthetics. Chrsitina Exie presented one of the most powerful collections as it articulated and simulated a representation of femininity which interceded the two notions of ego and hysteria.

Although it's always easy to overlook the intricacies of a fashion show, I applaud MSFW on it's diverse casting of models of all races and hope that it continues on this path next year as well.

Unfortunately, this will be my last show for MSFW however, there are still many more shows to go so make sure you all head over to the MSFW website and check out it's program! There are many free events in the city square including runways in the Hub!

A big thank you to Georgie and also Elise at Haystac who I'm sure I annoyed with countless emails, thank you for both putting up with me and giving me this absolutely awe-inspiring opportunity. It was lovely to meet you last night!

Most importantly, thank you to all of you who made it possible for me to be able to attend MSFW! In all honestly, this could not have been possible without all of you and your support!

Hopefully, I'll be able to attend MSFW again next year!




All photos are credited to Thomas Walk and Wesley Nel at Hobo photography

H&M does Melbourne

Lindsey Wixson at H&M Fall/Winter 2013
Source: melbournesgpo.com

It's been announced that H&M's first store will be the GPO which is located in the heart of Melbourne CBD and with a floor space of more than  5000m2 and 3 levels, H&M will no doubt rival Zara as Bourke St becomes the battleground between these two fast-fashion chain retailers. While I am all too pleased about this announcement and I'm sure others will be jumping for joy, there is a downside. 

Unfortunately, some of the stores in GPO such as Emporium (as confirmed on MGPO's Facebook page) will be forced to relocate to other locations in the CBD. Here's hoping that Acne won't be one of them!

Obviously, this is an absolutely fantastic location for H&M, near tram lines, a short walking distance between both Melbourne Central station and Flinders St Station, and situated on the famous Bourke St there is no doubt that H&M will attract a lot of foot traffic however, what does this mean for GPO, as a boutique retail space and as a brand.

As GPO currently stands, it is home to some of the most dare I say, sassy and hip international and domestic brands such as Acne, Karen Walker, Life with Bird and Manning Cartell. Although a month or so ago, Willow relocated it's Bourke St storefront in GPO to Malvern Rd, Hawksburn. It is through these brands, GPO has branded itself to be one of Melbourne's premiere boutique shopping locations. The difference between stores such as H&M and Acne are obvious, firstly their respective target demographics are completely different and so are their prices. 

H&M's pricing is not expensive, I'm sure their prices will be comparative to Topshop or Sportsgirl's and Zara's aswell. While Acne is much more high-end compared to H&M's notion of affordable luxury - targeting all socio-economic demographics. A basic white t-shirt if I'm not mistaken at Acne costs around $150. These differences in pricing may effect other stores, as H&M draws a much wider and different demographic compared to the current brands in GPO. In the last few years, GPO always branded itself to be a leading boutique fashion institution mixing Australian and international designers. And so with the arrival of H&M, one can only wonder, does this also mean a change for the GPO brand as well? 

Nevertheless, it's about time H&M expanded it's multinational retail empire to Australia! 

MSFW: Student Runway 2

Last night I had the opportunity to attend my first (ever) runway show and it was nothing short of truly amazing.

Melbourne Spring Fashion Week showcased the work of some of the most talented individuals from Melbourne's leading fashion institutes including the Whitehouse Institute of Design, Box Hill Institute, Melbourne School of Fashion and the Kangan Institute.

A diverse range of concepts and aesthetics were portrayed as designers showed off not only their creativity but also their skills and techniques.

The hairstyle, by Kevin Murphy, was somewhat reminiscent of the hair at the late Alexander McQueen's Spring/Summer 2010 collection entitled, Platos Atlantis with two knotted buns on top of the head and a deep side part with a single strand of hair. The makeup by Mecca Cosmetica was a dark dramatic winged smokey eye with fresh skin and subtle contouring.

The opening look by Brendan Smith explored the baroque period and surrealism with it's exaggerated structured shape, while the folded pleats at the bottom added a femininity to the garment.

While avant-garde designer, Tennille Sanders, presented her clothes without any external embellishments - choosing to embellish her pieces using eclectic tailoring and clashing prints.

Eleni Nott had printed the word "SPLIT" onto the side of a dress and when I saw this, I could not help but think of Anna-Sophie Bergers' collection "Fashion is fast" which featured a number of slogans and measurements printed onto garments.

The printing of such materialistic and artificial words on garments was also most recently used by designer Raf Simons in his Spring/Summer 2014 collection and Anna-Sophie Bergers' collection "Fashion is fast".

Fashion is Fast by Anna-Sophie Berger
Source: TouristMagazine.co.uk

Bergers' collection featured a number of slogans, measurements and icons printed onto the garments, to re-iterate the most basic concepts and governing rules of production and commercialisation in the fashion industry. "Through serial presentation of garments in groups of four, I allow a sort of formal comparison between aspects that I isolated as essential for the conception of the trends and garments of a time. The mathematical fact of a skirt having a width of 90, as opposed to a skirt width of 360, executed as real garments present the dimension of change achieved through a seemingly banal equation." Berger told Bullet Magazine.

Raf Simons Spring/Summer 2014
Source: Style.com

Simons' S/S 14 collection also featured garments with words such as "Clusters-Artifically Flavoured - Super Nylon" branded across them. In an article by Dazed & Confused, Simons stated that it was a comment on the increasingly superficial and artificial nature of our society and heavily consumerist population. He declared the collection a "freedom of expression versus the mechanical repetition of products."

This piece by Eleni Nott, in the same way, declared the physicality and artificial nature of garments nowadays.


The attention to detail paid by all designers in their respective collections was truly astounding as many designers played with not only concepts such as minimalism and surrealism but also prints, iconography, texture as well as the tailoring of garments.

Congratulations to all the designers who presented their collections on the night - you have truly set a high standard for emerging fashion designers in Melbourne.

If you live in Melbourne, don't forget to check out the MSFW Program!

Thank you for having me MSFW!




All photos courtesy of Thomas Walk and Wesley Nel at Hobo photography with the exclusion of those which have sources at the bottom of the images.