We asked Anna Plunkett of Romance Was Born: "If your collection was a mood ring, what colour would it be glowing?"
And you'll find the answer at the spot marked 'PLAY'.
Thursday, 6 May 2010
Romance Was Born: A few questions after the show with Anna
After the show, we caught up with Romance Was Born's Anna Plunkett to ask the questions that COUNT (especially by halves).
Question 1: What story is the collection telling?
It’s the story of dinosaurs getting transported through a crystal portal to the Renaissance to savage the upper class and free the lower class … and eat them.
Question 2: How did this story translate into the show?
The building and the set had a Renaissance kind of feel for us, for Australia, and the jungle is meant to be like Jurassic Park … we were inspired by the movie and the soundtrack.
Question 3: Was there a particular piece in the collection that you most connected with, or found most challenging to execute?
I really love the first outfit, the mask was the first Pandora mask that we did. I love the volcano, the crystal girl, and the bride. I really like the shoulder ride.
Question 4: In the mad lead-up to tonight’s show, who or what have been your daily heroes to help get you through?
Nella and all our workies … and my boyfriend. Just so many people to mention.
***
x Samone and Jaye
Question 1: What story is the collection telling?
It’s the story of dinosaurs getting transported through a crystal portal to the Renaissance to savage the upper class and free the lower class … and eat them.
Question 2: How did this story translate into the show?
The building and the set had a Renaissance kind of feel for us, for Australia, and the jungle is meant to be like Jurassic Park … we were inspired by the movie and the soundtrack.
Question 3: Was there a particular piece in the collection that you most connected with, or found most challenging to execute?
I really love the first outfit, the mask was the first Pandora mask that we did. I love the volcano, the crystal girl, and the bride. I really like the shoulder ride.
Question 4: In the mad lead-up to tonight’s show, who or what have been your daily heroes to help get you through?
Nella and all our workies … and my boyfriend. Just so many people to mention.
***
x Samone and Jaye
Our Daily Hero: Meet Narelle Robertson
The warm, gorgeous, and unassuming Narelle Robertson is a beloved hero of Romance Was Born. Narelle's nimble whirling of the thread came into play in the days leading up to last night's show.
And we all know what a stitch in time saves, don't we? (Answer: nine.)
"I've just been helping the guys. There's just so much handwork to do, just lots of little jobs to put it together to get to the total garment that they want. It takes a day just to embellish these sleeves and put them together."
Narelle, as the first Daily Hero featured on this blog, we salute you!
x Samone and Jaye
Romance Was Born: 'Renaissance Dinosaur', SS2010/11
Last night, The University of Sydney’s majestic MacLaurin Hall was the holding pen for Romance Was Born’s ‘Renaissance Dinosaur’ SS2010/11 spectacular. In the best kind of theatre, a trail of tinkling, thudding, and galloping ivories lured guests up the neo-Gothic staircase and into the venue. On the landing, we were met by a pianist in friar robes and a Venetian mask. A horned technicolour furry toy lounged on the grand piano lid, much like Michelle Pfeiffer in ‘The Fabulous Baker Boys’.
As the crowd surged inside, the room began wheezing with animal calls, grunts, and rumbles that built to a prehistoric hysteria. The scene was a moss-laden Eden of ferns and palms, dripping with vines. The runway was a glittering volcanic wonderland, laden with crystals, incense sticks, tiny insects, and a Late Cretaceous Period up-sized tortoise.
Jurassic foot-stomps stormed the walls and rafters, and then the show was ON.
And how to describe this riotous rumpus? Let’s try for some bullet points:
* Rainbow-coloured fairy-floss hair plumed sky high with headpieces of horns, chunky crystals, diamante hairnets, feathers, fans, and smatterings of Pandora charms.
* Necks were appliqued with a funereal rhinestone-studded lace. Nails were not nails, they were talons.
* The somehow lovechild of Princess Amidala and a Gothic Geisha strutted with an armoury of artificial fingernails embedded in her chestpiece.
* A floaty violin-print tunic and trouser set was made to waltz to its own tune.
* Raquel Welch’s ‘One Million Years BC’ met Toucan Sam in a deliciously lurid jungle-print bolero and shorts set.
* A gold-flecked knight of the Crusades heralded a bride-zilla riding on the shoulders of her groom.
And, the outfit that blew the roof right off that hall …
* The human volcano.
It was a BLAST.
Photo courtesy of vogue.com.au (final photograph only, all other photographs taken by Jaye Carcary).
x Samone and Jaye
As the crowd surged inside, the room began wheezing with animal calls, grunts, and rumbles that built to a prehistoric hysteria. The scene was a moss-laden Eden of ferns and palms, dripping with vines. The runway was a glittering volcanic wonderland, laden with crystals, incense sticks, tiny insects, and a Late Cretaceous Period up-sized tortoise.
Jurassic foot-stomps stormed the walls and rafters, and then the show was ON.
And how to describe this riotous rumpus? Let’s try for some bullet points:
* Rainbow-coloured fairy-floss hair plumed sky high with headpieces of horns, chunky crystals, diamante hairnets, feathers, fans, and smatterings of Pandora charms.
* Necks were appliqued with a funereal rhinestone-studded lace. Nails were not nails, they were talons.
* The somehow lovechild of Princess Amidala and a Gothic Geisha strutted with an armoury of artificial fingernails embedded in her chestpiece.
* A floaty violin-print tunic and trouser set was made to waltz to its own tune.
* Raquel Welch’s ‘One Million Years BC’ met Toucan Sam in a deliciously lurid jungle-print bolero and shorts set.
* A gold-flecked knight of the Crusades heralded a bride-zilla riding on the shoulders of her groom.
And, the outfit that blew the roof right off that hall …
* The human volcano.
It was a BLAST.
Photo courtesy of vogue.com.au (final photograph only, all other photographs taken by Jaye Carcary).
x Samone and Jaye
Romance Was Born: Behind the scenes hair and make up
Faces of Romance Was Born: 'Renaissance Dinosaur' SS2010/11.
Make up by super-talented Natasha Severino for MAC, hair by the extraordinary Lores Giglio for Fudge.
x Jaye
Make up by super-talented Natasha Severino for MAC, hair by the extraordinary Lores Giglio for Fudge.
x Jaye
Romance Was Born: Top 10 looks snapped outside the show
Q: What is your favourite creature with wings?
A: That would have to be a bird.
Q: What is your favourite national costume?
A: The lederhosen from Germany.
Q: Where is your favourite spot to take a seaside holiday?
A: Jervis Bay.
Q: What is your favourite African animal with stripes?
A: The zebra.
Q: Who is your favourite artist to disco with?
A: Donna Summer.
Q: Who is your favourite character in a film?
A: Rex Harrison as Henry Higgins in 'My Fair Lady'.
Q: What is your favourite thing that glitters or shines?
A: This top.
Q: What was the last song you listened to?
A: 'Paris' by the Friendly Fires.
Q: What was your favourite sport as a child?
A: Soccer - the same as it is now.
Q: What are you having for dinner tomorrow night?
A: Vietnamese, please!
***
x Jaye
Wednesday, 5 May 2010
Therese Rawsthorne: If your collection was a mood ring, what colour would it glow?
We asked Therese Rawsthorne "If your collection was a mood ring, what colour would it glow?"
HIT PLAY!
HIT PLAY!
Therese Rawsthorne: A few questions after the show
We stopped Therese Rawsthorne after the show, and asked her a few questions about the collection and how she chose to bring it to us...
Question 1: What story is your collection telling?
I was inspired by a road trip I did last year in the desert in America. I really wanted to create a sense of vastness with incredible spots of beauty. When you're driving through the desert it's really desolate and open, and then you come across these beautiful plants that are often so quirky and unusual.
Question 2: How did this inspire today's show?
It was reflected in this space we showed in. Obviously there is no desert in Sydney, so we needed to find somewhere that would give that sense of space and openness. Because this building is so old, rustic and industrial, it gave that feeling of emptiness that I really wanted to capture. The embellishment of the colours in the collection were the idea of those beautiful odd-spots of beauty in that desert space.
Question 3: Was there a particular piece in the collection that you most connected with or found most challenging to execute?
The jacket with the tulle overlays was quite tricky, it was the first time we've done something like that. Yes, it was tricky!
Question 4: In the mad lead-up to today's show, who or what have been your daily heroes to help get you through?
I guess definitely Rae, Tanya and Dane at Little Hero, my God, those people work hard. My little bunch of interns are quite incredible, they were there at 3 o'clock this morning, I can't believe they are so dedicated and into it!
Question 1: What story is your collection telling?
I was inspired by a road trip I did last year in the desert in America. I really wanted to create a sense of vastness with incredible spots of beauty. When you're driving through the desert it's really desolate and open, and then you come across these beautiful plants that are often so quirky and unusual.
Question 2: How did this inspire today's show?
It was reflected in this space we showed in. Obviously there is no desert in Sydney, so we needed to find somewhere that would give that sense of space and openness. Because this building is so old, rustic and industrial, it gave that feeling of emptiness that I really wanted to capture. The embellishment of the colours in the collection were the idea of those beautiful odd-spots of beauty in that desert space.
Question 3: Was there a particular piece in the collection that you most connected with or found most challenging to execute?
The jacket with the tulle overlays was quite tricky, it was the first time we've done something like that. Yes, it was tricky!
Question 4: In the mad lead-up to today's show, who or what have been your daily heroes to help get you through?
I guess definitely Rae, Tanya and Dane at Little Hero, my God, those people work hard. My little bunch of interns are quite incredible, they were there at 3 o'clock this morning, I can't believe they are so dedicated and into it!
Therese Rawsthorne: 'The Wanderer', SS 2010/11
Gentle tailoring and draping were buzz words at Therese Rawsthorne's SS 2010/11 RAFW show 'The Wanderer' this morning. The imposing stark industrial venue faded into the background with exquisite flashes of jewel-like scarlet in the way of cocktail-style dresses, with twisted shoulder detailing.
Nude and black footless tights were gilded and glorious with braiding running as seamlines down the front. A statement black shirt-dress took on the insouciant look of a loose and oversized 80s blazer, with a drawstring reigning it in for feminine emphasis at the drop-waist.
Soft and pretty prints conjuring Matisse were in muted plum-like tones on softly-rounded chiffon skirts and wrap-dresses that flared with flair, and tapered in mid-thigh. Shoes by Tristain Blair had a gentle toughness added with tubular ankle bracelets skimming the vamp.
'The Wanderer' was a triumphant mix of softness meets structure.
***
x Samone and Jaye
Therese Rawsthorne: backstage and walk-through, pre show
Linda Jefferyes for MAC, make-up artist extraordinaire, back stage before the show.
Pre-show walk-through among the industrial steel pylons and polished concrete. The upscale venue at the Australian Technology Park, Eveleigh, set the tone for Therese Rawsthorne's show, and that tone was phenomenal!
x Samone and Jaye
An early start ...
Bondi was all moody skies and keen anticipation as the Daily Hero team made the 7am commute out to the Australian Technology Park, Eveleigh, for the Therese Rawsthorne show. We were glad for the cupola of Sonoma's oven-roasted breakfast crunch that greeted us when we arrived.
In a word: taste-tastic.
Tuesday, 4 May 2010
Friedrich Gray: If your collection was a mood ring, what colour would it be glowing?
We asked Friedrich Gray's Ben Pollitt "If your collection was a mood ring, what colour would it be glowing?"
Can't wait for the surprise? Find out ... HERE!
Can't wait for the surprise? Find out ... HERE!
Ruby Rose loves Friedrich Gray
Post show: A big thumbs-up from Ruby Rose in a one-off piece designed for her by Friedrich Gray.
Friedrich Gray: 'Refraction', SS2010/11
Entering the runway through a mirrored portal of multi-faceted reflections, Friedrich Gray’s ‘Refraction’ SS2010/11 collection featured black with shards of white and white with shards of black.
Sharp shapes shifted with extended sleeves, scrunched finishing, and cutaway tanks. Black mesh and leather raced to the finish line with hints of motorcycle chic and triangular details.
***
x Samone and Jaye
Flannel: If your collection was a mood ring, what colour would it glow?
We asked Flannel's designer Kristy Lawrence "If your collection was a mood ring, what colour would it glow?"
ALL REVEALED, HERE!
ALL REVEALED, HERE!
Flannel: A few questions with Kristy Lawrence, post show
We asked Flannel's Kristy Lawrence a few pressing questions after the show ...
Question 1: What story is this collection telling
I think it’s about the free-spirited woman that starts feeling good about herself, she’s got comfort. It really came from the early 80s when women started to feel empowered, I suppose.
Question 2: Was there a particular piece that you most connected with or found most challenging to execute?
My favourite piece was the bias-cut dress with the ties on the side, it’s just a very cleverly cut garment. So simple, with few stitch lines, but it’s my favourite. Gorgeous!
Question 3: In the mad lead-up to today’s show, who or what have been your daily heroes to help get you through?
I had the most amazing team, an amazing stylist, an amazing producer, and Rae at Little Hero, too. My family, really!
***
Question 1: What story is this collection telling
I think it’s about the free-spirited woman that starts feeling good about herself, she’s got comfort. It really came from the early 80s when women started to feel empowered, I suppose.
Question 2: Was there a particular piece that you most connected with or found most challenging to execute?
My favourite piece was the bias-cut dress with the ties on the side, it’s just a very cleverly cut garment. So simple, with few stitch lines, but it’s my favourite. Gorgeous!
Question 3: In the mad lead-up to today’s show, who or what have been your daily heroes to help get you through?
I had the most amazing team, an amazing stylist, an amazing producer, and Rae at Little Hero, too. My family, really!
***
Flannel: 'Catch My Drift', SS2010/11
A sepia-toned nostalgia of buttery leathers and creamy suede conjured old-world luxury with a modern aesthetic at Flannel’s ‘Catch My Drift’ show tonight.
Sweet flutter-thigh shorts were paired with soft leather tees. Trapeze-like tanks knotted at the side billowed breezily.
Slouchy striped shirt-dresses were cinched at the waist, while soft suede tunics drifted with fringing. The palette blushed beautifully with a rose-hued slip dress cut on the bias, as tassels dangled like tiny buds on the hemline.
Flannel's Kristy Lawrence and two models straight off the runway.
x Samone and Jaye
Sweet flutter-thigh shorts were paired with soft leather tees. Trapeze-like tanks knotted at the side billowed breezily.
Slouchy striped shirt-dresses were cinched at the waist, while soft suede tunics drifted with fringing. The palette blushed beautifully with a rose-hued slip dress cut on the bias, as tassels dangled like tiny buds on the hemline.
Flannel's Kristy Lawrence and two models straight off the runway.
x Samone and Jaye
Flannel: Sunday fittings at Little Hero showroom, pre RAFW
Floating through the Little Hero showroom in a creamy wash of Flannel.
Goofing off and gorgeous!
Stomping the boards in Dr Martens boots.
Julia Nobis and Bambi Northwood-Blyth we love you.
x Samone and Jaye
Friedrich Gray: Refraction. Two SS 2010/11 garments up close!
“We’ve used the definition of refraction and the angles of light in the patterns. The negative space is used to create shapes and visual effects.” – Ben Pollitt, Friedrich Gray
Friedrich Gray: Ben Pollitt and Tim Richardson on their collaboration for tonight's show
We recently caught up with Friedrich Gray’s Ben Pollitt along with photographer, director, collaborator, and friend Tim Richardson. We discussed their collaborative work, the SS 2010/11 Friedrich Gray collection, and what went into presenting tonight’s show for Australian Fashion Week.
Ben Pollitt: The inspiration for the collection comes from Richard Serra and Banks Violet, these are two artists that Tim introduced me to. After showing Tim the collection and the inspiration images, he went away and came up with some ideas for the runway, and I liked the concepts.
Tim Richardson: We considered what we could do with the space that gives the show some kind of unique quality. I started talking about doing something that was architectonic or sculptural. I tend to work within a balance of the creative dynamic of what I can bring to it, and what Ben can bring to it. Then we talk about how and what we can actually afford to execute.
Question: How did the sculptural piece for the show come about?
Tim: This piece came about because I was looking at a lot of art in New York that I was really interested in that has a basis in music. Ben and I play music as a kind of inspiration … that’s one thing we have in common creatively as a starting point. I wanted to do something that was physical and had a presence in a room, but had a function as well. Because it’s all mirrored, it will be a beautiful amplification of what’s going on with the fashion. This being two-sided, it’s really nice, because as the girls walk through it, they will be multiplied. By choosing this medium, we are trying to make the most of the event and something for people to remember it by.
Ben: When the sculpture was in 3D, Tim tested how the light would reflect and refract from it. This where the name for the collection comes from, Refraction. When the models exit through the installation, the light refracts from the mirrors and shows you all the different sides of the garments.
Sculptural piece for the runway, under construction
Question: So how did you both come to work together originally?
Tim: I’ve known Ben since about 2004 before he had a label. He was recently out of school and changing careers. I moved to New York and he came and stayed with some other friends for a few months. We have a similar taste in music, and a lot of our references are musical. It’s very organic, the exchange. I think for me the reward is really simple, it’s being able to make projects on a situation-by-situation basis. It’s not like a traditional brand where you have a set campaign every year where you can afford to buy advertising space in magazines and you’re doing print. You’re really trying to take whatever medium you can get, and get the most out of it for the designer.
For me, it’s to find something that’s unique and interesting aesthetically. It has to be a balance of all those things. I work with a lot of big brands where you have a lot of money to spend, but it’s a very politicized situation. With Ben, I deal with the creative person, the marketing person, and the person who cares most about the brand all at the same time without having to wrestle with the dynamic of a big boardroom of people where you have to prove things all the time. Instead, it’s a one-on-one agreement.
Ben: We’ve known each other for 5 or 6 years, and this is the second project we’ve worked on together. Tim is also helping me with the lighting because he’s a photographer, that’s his profession. I trust Tim’s vision and how he works, so I let him look after those elements and he always comes back with something that’s incredible.
* * *
Ben Pollitt: The inspiration for the collection comes from Richard Serra and Banks Violet, these are two artists that Tim introduced me to. After showing Tim the collection and the inspiration images, he went away and came up with some ideas for the runway, and I liked the concepts.
Tim Richardson: We considered what we could do with the space that gives the show some kind of unique quality. I started talking about doing something that was architectonic or sculptural. I tend to work within a balance of the creative dynamic of what I can bring to it, and what Ben can bring to it. Then we talk about how and what we can actually afford to execute.
Question: How did the sculptural piece for the show come about?
Tim: This piece came about because I was looking at a lot of art in New York that I was really interested in that has a basis in music. Ben and I play music as a kind of inspiration … that’s one thing we have in common creatively as a starting point. I wanted to do something that was physical and had a presence in a room, but had a function as well. Because it’s all mirrored, it will be a beautiful amplification of what’s going on with the fashion. This being two-sided, it’s really nice, because as the girls walk through it, they will be multiplied. By choosing this medium, we are trying to make the most of the event and something for people to remember it by.
Ben: When the sculpture was in 3D, Tim tested how the light would reflect and refract from it. This where the name for the collection comes from, Refraction. When the models exit through the installation, the light refracts from the mirrors and shows you all the different sides of the garments.
Sculptural piece for the runway, under construction
Question: So how did you both come to work together originally?
Tim: I’ve known Ben since about 2004 before he had a label. He was recently out of school and changing careers. I moved to New York and he came and stayed with some other friends for a few months. We have a similar taste in music, and a lot of our references are musical. It’s very organic, the exchange. I think for me the reward is really simple, it’s being able to make projects on a situation-by-situation basis. It’s not like a traditional brand where you have a set campaign every year where you can afford to buy advertising space in magazines and you’re doing print. You’re really trying to take whatever medium you can get, and get the most out of it for the designer.
For me, it’s to find something that’s unique and interesting aesthetically. It has to be a balance of all those things. I work with a lot of big brands where you have a lot of money to spend, but it’s a very politicized situation. With Ben, I deal with the creative person, the marketing person, and the person who cares most about the brand all at the same time without having to wrestle with the dynamic of a big boardroom of people where you have to prove things all the time. Instead, it’s a one-on-one agreement.
Ben: We’ve known each other for 5 or 6 years, and this is the second project we’ve worked on together. Tim is also helping me with the lighting because he’s a photographer, that’s his profession. I trust Tim’s vision and how he works, so I let him look after those elements and he always comes back with something that’s incredible.
* * *
Stolen Girlfriends Club: If your collection was a mood ring, what colour would it glow?
We asked Luke, Marc, and Dan of Stolen Girlfriends Club "If your collection was a mood ring, what colour would it glow?"
THE ANSWER, HERE!
x Samone and Jaye
THE ANSWER, HERE!
x Samone and Jaye
Stolen Girlfriends Club: stealing 4 quick questions, pre show
We spoke to Stolen Girlfriends Club's Luke, Dan, and Marc before the show ...
Question 1: What story is this collection telling?
Marc: It is telling a little bit about the surf tribes that live on the beach after an apocalypse. So post-apocalyptic surf athleticism is the term.
Dan: With an ‘a’.
Luke: Just to bring it down a notch, it’s called “Life’s A Beach: Watch Out For Crabs”.
Marc: No STD references, whatsoever. Never had any STDS, eh?
Dan: Touch wood.
Marc: There’s no wood in this place.
Question 2: How did this inspire the show?
Luke: In so many ways.
Marc: It’s kind of our heritage, it’s where we come from and the first time we’ve referenced it in five years.
Dan: All of us are surfers – that’s our heritage – but we’ve kind of steered away from it a little bit, and rebelled and gone a bit more fashion. People used to poke sticks at these guys [points to the others] wearing trenchcoats on the beach in the sand dunes. Now it’s come to fruition or full circle, even, where we celebrate our surfing roots. More so, it’s the culture behind the surfing as opposed to the surfing itself.
Luke: There’s some diversity through everything in the show from the collection to the [mist wall] projection and effects we’ve used.
Marc: In terms of the girls’ collection, we’ve got two gangs. We’ve got this gang of girls, they’re a little bit street tough and the shit that they wear is a little bit more body con. We’ve got snakeskin – or crocodile, really – printed on denim panelling … a lot of attitude. And then we’ve got this other side which is more feminine and floaty. We’ve got this tribal print that we’ve brought in. We’ve never ever played with print, this is the first time so our fingers are crossed. We’re nervous.
Dan: We usually just do black and white.
Question 3: Was there a particular piece that you most connected with or found most difficult or challenging to execute?
Marc: The bat-cape dress. It’s this bone-coloured dress that keeps getting stained, no matter what … it has added to the character of the garment. It is a beautiful dress with a silk-georgette cape, and just looks gorgeous.
Question 4: In the lead-up to tonight’s show, who or what have been your daily heroes to get you through?
Luke: Little Hero has been our big hero.
Dan: For sure … and Alias Creative.
Marc: Ali Newling and Natalie Jane Miller. Those guys are amazing, we want to ship them over to New Zealand! The professionalism is astounding.
Luke: Did I say Vitamin Water, before?
Marc: Also the level of models has been really great over here. Yeah, it’s all been great.
Question 1: What story is this collection telling?
Marc: It is telling a little bit about the surf tribes that live on the beach after an apocalypse. So post-apocalyptic surf athleticism is the term.
Dan: With an ‘a’.
Luke: Just to bring it down a notch, it’s called “Life’s A Beach: Watch Out For Crabs”.
Marc: No STD references, whatsoever. Never had any STDS, eh?
Dan: Touch wood.
Marc: There’s no wood in this place.
Question 2: How did this inspire the show?
Luke: In so many ways.
Marc: It’s kind of our heritage, it’s where we come from and the first time we’ve referenced it in five years.
Dan: All of us are surfers – that’s our heritage – but we’ve kind of steered away from it a little bit, and rebelled and gone a bit more fashion. People used to poke sticks at these guys [points to the others] wearing trenchcoats on the beach in the sand dunes. Now it’s come to fruition or full circle, even, where we celebrate our surfing roots. More so, it’s the culture behind the surfing as opposed to the surfing itself.
Luke: There’s some diversity through everything in the show from the collection to the [mist wall] projection and effects we’ve used.
Marc: In terms of the girls’ collection, we’ve got two gangs. We’ve got this gang of girls, they’re a little bit street tough and the shit that they wear is a little bit more body con. We’ve got snakeskin – or crocodile, really – printed on denim panelling … a lot of attitude. And then we’ve got this other side which is more feminine and floaty. We’ve got this tribal print that we’ve brought in. We’ve never ever played with print, this is the first time so our fingers are crossed. We’re nervous.
Dan: We usually just do black and white.
Question 3: Was there a particular piece that you most connected with or found most difficult or challenging to execute?
Marc: The bat-cape dress. It’s this bone-coloured dress that keeps getting stained, no matter what … it has added to the character of the garment. It is a beautiful dress with a silk-georgette cape, and just looks gorgeous.
Question 4: In the lead-up to tonight’s show, who or what have been your daily heroes to get you through?
Luke: Little Hero has been our big hero.
Dan: For sure … and Alias Creative.
Marc: Ali Newling and Natalie Jane Miller. Those guys are amazing, we want to ship them over to New Zealand! The professionalism is astounding.
Luke: Did I say Vitamin Water, before?
Marc: Also the level of models has been really great over here. Yeah, it’s all been great.
Monday, 3 May 2010
Stolen Girlfriends Club: 'Life's A Beach ... Watch Out For Crabs', SS 2010/11
Jungle beats and a wall of mist issued forth Stolen Girlfriends Club's SS 2010/2011 collection 'Life's A Beach ... Watch Out For Crabs'. Tribal prints jostled with orange/black croc-skin and splashes of white, as garments billowed and hugged in all the right places.
Beach-gang urban looks were a hot reminder of Patrick Swayze as Bohdi in Point Break. Boys trudged in military boots, upsized backpacks (spilling sand onto the runway), long shorts over deconstructed leggings, and bedazzled bandannas like W. Axl Rose gone troppo.
Show-stoppers of the night were the white bat-cape, and a red swerve-winding curve-hugger with jagged chest panelling and flesh-mesh up top.
In a word: Skeg-tastic.
Beach-gang urban looks were a hot reminder of Patrick Swayze as Bohdi in Point Break. Boys trudged in military boots, upsized backpacks (spilling sand onto the runway), long shorts over deconstructed leggings, and bedazzled bandannas like W. Axl Rose gone troppo.
Show-stoppers of the night were the white bat-cape, and a red swerve-winding curve-hugger with jagged chest panelling and flesh-mesh up top.
In a word: Skeg-tastic.
Spotted! Tallulah Morton, post Seventh Wonderland show
After the Seventh Wonderland show, we spotted Tallulah Morton taking time out under a tree, wearing purple 1460 8-eyelet Dr Martens and a Misfits tee. We asked Tallulah how she spends her downtime.
"I like listening to music. I'm a bit of a homebody, so I've been staying at home recently with my boyfriend. We're in love."
We're loving that Tallulah is in love!
And what music is she listening to right now?
"Dystopia, Electric Wizard, Extortion, the Misfits, Four Days to Burn, Eyehategod. They're really cool. A lot of people don't like them, but I do."
HOT TIP! Gorgeous models totally dig sludge metal.
x Samone and Jaye
Seventh Wonderland: If your collection was a mood ring, what colour would it glow?
POST SHOW!
We asked Seventh Wonderland's Carlos and Bonnie "If your collection was a mood ring, what colour would it glow?"
We asked Seventh Wonderland's Carlos and Bonnie "If your collection was a mood ring, what colour would it glow?"
Seventh Wonderland: 4 wonderfully quick questions, post show
We caught Carlos and Bonnie after the show with four – count them – wonderfully quick questions!
Question 1: Bonnie and Carlos, what story is this collection telling?
Bonnie: It is very much about an experience, going to another wonderland. We wanted to present a different world that wasn’t your normal traditional swim/beachwear. We have put together a story of pale girls in a 1930s spa – this is where the marble print comes into play.
Carlos: We were looking toward choreographer Busby Berkeley. There is a clip in particular that is called ‘By a Waterfall’. It is a beautiful sequence of girls in a type of underworld. It had plays on reflection, beautiful mirroring, and many different kaleidoscope-like components. It created such amazing effects, and is something that Bonnie’s been able to use in her work for the season.
Question 2: And how did this inspire the show?
Bonnie: We really wanted to bring in the water elements and glass with faceting: we were looking at old perfume bottles from those days. The Busby Berkley clip was in a fantasyland - it had all Art Deco pillars and girls coming down on waterslides into marbled swimming pools, kind of like a spa. This is where the marble came into the prints, we brought water in with the ice sculpture, and a dreamscape-like feeling with the music.
Question 3: Was there a particular piece that you most connected with, or found most difficult to execute?
Bonnie: The macramé features! That macramé took me forever to do. Thirty centimetres alone takes me about two hours by hand.
Question 4: In the mad lead-up to today’s show, who or what have been your daily heros to help get you through?
Carlos: We’ve got a really good support network. I guess Bonnie and I are trying to do four people’s jobs with two people. Having the Raes of the world, our fantastic sales agent, and all the people that support and believe the vision we have is really comforting.
Bonnie: And I think family as well. My mum and dad were up all night gluing all those jewels on the shoes …
[Pause]
Oh, and each other! [as support]
Carlos: Yeah, of course! Each other.
* * *
Get out your noseclips and take the plunge into Busby Berkley’s ‘By a Waterfall’. The sequence that inspired Seventh Wonderland’s SS 2010/2011 collection is from the 1933 musical ‘Footlight Parade’ starring James Cagney. Look!
x Samone and Jaye
Question 1: Bonnie and Carlos, what story is this collection telling?
Bonnie: It is very much about an experience, going to another wonderland. We wanted to present a different world that wasn’t your normal traditional swim/beachwear. We have put together a story of pale girls in a 1930s spa – this is where the marble print comes into play.
Carlos: We were looking toward choreographer Busby Berkeley. There is a clip in particular that is called ‘By a Waterfall’. It is a beautiful sequence of girls in a type of underworld. It had plays on reflection, beautiful mirroring, and many different kaleidoscope-like components. It created such amazing effects, and is something that Bonnie’s been able to use in her work for the season.
Question 2: And how did this inspire the show?
Bonnie: We really wanted to bring in the water elements and glass with faceting: we were looking at old perfume bottles from those days. The Busby Berkley clip was in a fantasyland - it had all Art Deco pillars and girls coming down on waterslides into marbled swimming pools, kind of like a spa. This is where the marble came into the prints, we brought water in with the ice sculpture, and a dreamscape-like feeling with the music.
Question 3: Was there a particular piece that you most connected with, or found most difficult to execute?
Bonnie: The macramé features! That macramé took me forever to do. Thirty centimetres alone takes me about two hours by hand.
Question 4: In the mad lead-up to today’s show, who or what have been your daily heros to help get you through?
Carlos: We’ve got a really good support network. I guess Bonnie and I are trying to do four people’s jobs with two people. Having the Raes of the world, our fantastic sales agent, and all the people that support and believe the vision we have is really comforting.
Bonnie: And I think family as well. My mum and dad were up all night gluing all those jewels on the shoes …
[Pause]
Oh, and each other! [as support]
Carlos: Yeah, of course! Each other.
* * *
Get out your noseclips and take the plunge into Busby Berkley’s ‘By a Waterfall’. The sequence that inspired Seventh Wonderland’s SS 2010/2011 collection is from the 1933 musical ‘Footlight Parade’ starring James Cagney. Look!
x Samone and Jaye
Seventh Wonderland: La Clef Du Monde Secret, SS 2010/11 Collection. THE SHOW !
Perched on crystalline-studded heels, the girls in Seventh Wonderland's SS 2010/2011 collection were chanelling screen sirens of old as they paraded past a pair of Art Deco ice sculptures.
HOT!
The palette ranged from neutral in the opening walk, through to inky marbles and colour that swirled opalescent, unexpected and welcome, like a rainbow in a puddle.
x Samone and Jaye
HOT!
The palette ranged from neutral in the opening walk, through to inky marbles and colour that swirled opalescent, unexpected and welcome, like a rainbow in a puddle.
x Samone and Jaye
Seventh Wonderland: Pre show
Hair and make-up before the show. Slick and sodden Grecian pin-curls, like sirens rising from the sea.
x Samone and Jaye
Building blocks: Pre fashion week
Sometimes walls need to be broken down, and other times they need to be put UP.
Subscribe to:
Posts (Atom)