mapping fashion design micropractice

MICROTELIER

A collective case study by RMIT Bachelor of Fashion (Design) students

Mapping Fashion Design Micropractice

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CONTENTS

CHAPTER 1 - DESIGNERi. Made To Measure/Custom Making

ii. RMITiii. Untraditional/Upcycle

iv. Craft

CHAPTER 2 - TEXTILES

CHAPTER 3 - SPACEi. Physical

ii. Virtual/Online

CHAPTER 1: DESIGNER

DESIGNERThe core driving force of the heart and soul of the fashion industry. Each designer has an individual approach to

their craft, whether it is bespoke pieces or made to wear.

i. Made to measure/custom making methodsMade to measure and custom making methods allows for a richer relationship with the clientele, through private and exclusive appointments with the original designer, and not with the retail assistant. These studio based, do it yourself approach to the fashion industry allows for a flexible, slow fashion customised products personal to the

buyer.

ii. RMITThis section showcases RMIT graduates in which are using their large range of skills to create designs that range from bespoke to small and potentially growing labels. These graduates are positive inspirations for us as upcoming designers as it shows that hard work and dedication will pay off as creative satisfaction is gained through exploration

and creation.

iii.Untraditional/up-cycleDesigners today are moving away from the quick, easy and cheap options for fabric and cloth choice. Many designers are moving into the eco-friendly, sustainable practice of up-cycling clothes and fabrics. These techniques

can be used from older vintage items to create something unique and one of a kind.

iv.CraftCraft is a very explorative area as alternative and sometimes unconventional creations are born and worn or showcased in ways that really express an individual and their individual styles and themes. The beauty of craft is that anyone can participate in this and that University or Tafe training is absolutely not required allowing everyone the ability to create. This section will express example of both of these craft backgrounds and open your idea to

inventive explorations.

DESIGNER: Made To Measure/Custom Making

Fashion Design Studio 6 - Microtelier Mapping Fashion Design Micropractice

Kara BakerDesigner

Georgia McCorkill

Kara Baker is a fashion designer based in Melbourne’s CBD in a beautifully decorated space that is at once her home, salon and studio (Figure 6). In an unstructured interview at her studio on 10 September 2013, she described her practice thus:What I make for my clients, first of all, is beautiful quality fabrics and then the clothes are actually custom-made. So everything is fitted and made to measure which is obviously the opposite of wholesale, …everything is tweaked, so it might just be hem lengths or it could be a completely starting from scratch from a toile and actually fitting the toile and then possibly having a second fitting.After founding and running Sirens, a prominent label in the 1980s and 90s structured around a wholesale business model, Kara described to me how she now designs two main and two supplementary collections per year of approximately twenty pieces each. She creates a sample range of individual garments designed around the principle of a coordinated “wardrobe” from which orders are taken (Figure 7). Fabrics come in limited quantities; often they are vintage fabrics of incredible quality purchased from a network of contacts with links to a garment manufacturing industry long since gone from Melbourne, or else they are the ends of rolls from Italian mills. As such there might only be sufficient material for a bare minimum of one style in a given fabric or colour.In speaking with Kara, it is clear she has strong views on the aesthetic she likes, and clear opinions on how professional women should dress. She also has the technical acumen, including garment construction and in particular garment pattern-making skills, which she points to as her strength, to achieve a refined yet unique silhouette and finish appropriate to this market. It strikes me that she has appropriated an haute couture model, and realised it on a micro scale. Where a Parisian house employs many, she performs all the roles in the house herself. Her own confident design authority is that of a

couture designer in control of her métier. The salon environment is a bohemian Chanel, the eye for altering garment proportion to a wearer is that of one of the hands in the house, and the luxury fabrics, accomplished patternmaking and the hand finishes, such as bound hems and silk linings are all the epitome of high dressmaking.

References:

K Baker 2013, pers. comm., 10 September 2013Kara Baker Spring Summer 14, n.d. photograph, viewed 31 July 2015, <http://www.karabaker.com/summer-2013-15.php>

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CALOUDA by Cara DrakeDorothy Tsang

CALOUDA is a Melbourne based label created and founded by Cara Drake. Cara Drake is a recent fashion graduate from Whitehouse Institute of Design, Australia in 2013. Her graduate collection was featured in the international Australian Graduates Fashion Week. Cara launched ‘CALOUDA, aims to empower women through clothing. 'CALOUDA', is a high fashion ready to wear brand with attainable pricing. CALOUDA re�ects e�ortless sophisticated style, yet still remaining trendy and chic. Cara Drake targets at young and independent women, who are strong, amibious, con�dent and willing to embrace a change.

Cara Drake launched the brand entirely on her own and has been involved in every step of the production in her business, from design, patternmaking, construction and marketing. In addition, Cara Drake does not outsource anything since she stated that it is important to keep her brand “100 per cent Australian made”. CALOUDA is a sole operator in which all garments are personally handmade in Melbourne. Currently, CALOUDA is only operated as an online store. Once the order has been placed, the piece will be constructed performed in her studio. The customer will receive the garment within 2-6 days with 1 additional week for construction time.

Embracing modernistic in�uences, Cara Drake aims to create quality, long-lasting timeless pieces. “I like to have that timeless appeal, and have items that can last for years. Also, going for that minimalist design means people can make the garments their own. It’s always interesting to see how others style my garments.” Her Spring/Summer 2015 collection, “Set in Stone”, adopts a soft grey palette and a minimalist yet sophisticated resort-inspired style. There are 12 pieces in the

collection which include dresses, a peplum top, a crop top, Palazzo pants, skirts and a statement gown with a �sh tail. Items in “Set in Stone” collection are made to order and range from $60 — $360. The collection o�ers a design aesthetic that incorporates the contrast of soft �uidity and de�ned structure. The range featurescontrasting fabrics including cotton, polyester jersey,metal blends and silk nylon. Cara Drake reinforced that“Contrast is a major element I use in design. I �nd itreally intriguing to have harsh and soft in my pieces.”

Cara Drake launched the collection at Whitehouse Institute of Design in Melbourne in August 2014. Cara Drake was also asked by Whitehouse Institute of Design, to exhibit her collection in their exhibition as an up and coming design label, her designs were also used in the "Style Stage" which showcased creative looks styled for the urban Melbourne woman. The collection has also been featured in Mod Magazine in June 2015.

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Source: http://www.caloudabycaradrake.com.au/#!biography/c10fk Source: http://www.caloudabycaradrake.com.au



Nyssa MarrowDesigner

Anmin Lan

Nyssa Marrow is a regular teacher at RMIT University of

fashion course based in Melbourne. In an unstructured

interview via the email on 8 August 2015, she told me

about her two brands in hind sight which because she

closed them.

She first had a label called ‘Above’ in which they had a

retail space where customers could view the making

process. This led to numerous inquiries about making

process. She told me that the problem with this is

sometimes people wanted them to make a picture from a

magazine. Of course this had nothing to do with the

design practice.

And then she described her second brand called ‘The

Well Suited Bride’ to me: alternative bridal wear that

reflects the relaxed physical structure of contemporary

clothing. Well-suited aims to create outfits that let the

bride be seen and not overshadowed by the wedding

dress its self. The collections are structured around layers

that can be built up or down depending on their budget,

type of wedding and how elaborate the bride wishes to

appear. She also describe their customer is the ‘reluctant

bride’. Well suited dresses contrast quite heavily with

most other bridal aesthetics as they are quite pared back

and subtle and have a sense of simplicity which for some

women could be confronting.

With Well-suited there has not the problem to

accommodate fluctuations in stock availability, as they

only make a dress for a customer when they make an

order. Being a bridal business it is already situated in a

made to order model. In terms of fabric they mainly work

with fabrication that can be ordered all year round. With

the process of made to measure, she sample the range in

a number of sizes and fabrications, which is housed in

the Well-suited showroom in the Nickolas building in the

CBD. Clients will come and try on different combinations

and styles, this process happens over a number of

appointments, and during these appointments they guide

the customer through fabric, style and design detail

alterations.

Made to measure is that she finds a more engaging

process as a maker designer. As you are purposefully

guiding that person through the design process and then

making a garment that is reflective of them as well as part

of yourself. When the customer receives the garment you

know that they truly love and are connected to that

garment, it will give you a great feeling.

References:

N Marrow 2015, email. comm., 8 August 2015

The Well Suited Bride Range, n.d. photograph, viewed

10 August 2015,

<http://www.wellsuitedbride.com/#foobox-2/15/WellSuited162

20.jpg>

The Well Suited Bride, Kerry Findlow and Nyssa Marrow in

their studio, n.d. photograph, viewed 10 August 2015,

<Image source from ‘The Well Suited Bride’ website:

http://www.wellsuitedbride.com/>

‘The Well Suited Bride’: Kerry Findlow and Nyssa Marrow in their studio, photographer unknown

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Made to MeasureFor Micro Fashon PracticeZhanyang Tan Lucy

There are many models of made to measure, custom making in fashion practice. Mostly follows the procedures from sample to design to making. There is one-o designs that starts the design with a brief discussion; there are collection and customisation that starts with clients choosing from existed collection; there is also design for DIY where designer produce only the customized pattern and instruction.Overall, made to measure does own unique designs, with proper pattern making design process. There is no size for client to choose, it is made to t with client’s measurements. For micro fashion design practice, made to measure is the perfect environment for ambitious designers to develop their own ideas. Custom making is for those who want to feel unique and dislike to follow the trend blindly. For designers who have lots of great ideas, they can produce a collection and then invite clients to try on, then develop further from there. But sometimes the client also has an idea themselves, so then it is designer’s job and talent to make that idea come true. To produce the collection might be an expensive time frame, but surely after you produced your collection someone will have the eyes for it, after all it is custom made one and only. Made to measure doesn’t have to be bridals or evening gowns, it could also be daily wear, it could be just slightly higher price than a normal manufactured garment. Instead of wearing what everyone else wearing, you have it your way.For micro fashion practices, is necessary to contributing to eco-friendly environment. 193,000 tons of clothing and textile are wasted annually in America, imagine how many people wearing same items sees each other’s on the same street then when home upset and decided to throw them away. For made to measure designers, there won’t be productions of massive amount of garments, there will only

be the one and only valuable piece. It will be signicant amount of waste reduced for fashion industry. Made to measure for micro fashion practice, not only contributing to the society, but also designers get to develop and produce a properly designed, unique and high quality piece that they are proud of.

References:Murdock, C, 2013, What Is The Dierence Between Made To Measure And Bespoke?, Forbes, viewed 08 August 2015

http://www.forbes.com/sites/quora/2013/01/16/what-is-the-di erence-between-made-to-measure-and-bespoke/

Cline, E, 2014, Where Does Discarded Clothing Go?, The Atlantic, viewed 08 August 2015

http://www.theatlantic.com/business/archive/2014/07/where-does-discarded-clothing-go/374613/

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FME Apparel Madeleine Cope

FME Apparel was established by Maddy Maeve in 2012. The brand was originally launched as ‘Fussy Me’ an ode to Maddy’s fussy tendencies when it comes to creating comfort and clothing. The brand was then developed into FME Apparel and has since gained a following for their signature delicate styles that promise comfort and quality. The beautiful aesthetic of the brand always manages to stay true to their comfort-wear practice. Although Maddy doesn’t have a tertiary education in fashion her skills and ambitions in designing are always spot on to her clients needs and desires. The brand is recognised for their Melbourne made approach to designing and production. Each season all the designing and creating is done in house by Maddy, often creating garments with inspiration of past eras, landscapes and personal experiences around comfort and fashion. The process of creation at FME is incredibly thoughtful at every stage contributing to the high quality end results. The fabric sourcing will carry out at the start of the designing process and begins in Melbourne. There is a lot of effort put into the deciding of the fabric sources as they have to be well researched and trusted. Once the designing and sourcing is well underway Maddy’s mother, Jenny then begins on the pattern making and production. Located just out of Melbourne in country Victoria Jenny will produce a small range of the collection to be displayed and purchased in store but will also

make many of the garments to order for the online web store. This cleverly allows for minor changes to be made by the customer, whether it is by shortening or lengthening of the hems or slight adjustments to the waist. This level of customisation personalises the experience and ensures the customer will be 100% satisfied with their purchase. Last season titled ‘Ensemble’ is a perfect summary of all of the brands ethics. ‘The collection centres on the idea that by only using a group of items together - can you truly create the perfect harmony in an outfit. Slightly nostalgic in tone, this collection draws subtly on silhouettes and shades of the late 70’s - creating pieces as layers to compliment and correspond with one another as a whole rather than individually. This collection was made up of a locally knitted Merino wool and produced by Jenny. As the brand grows they have looked into sourcing some fabrics from Japan and getting some of the garments produced by a Melbourne based production company however this will still be incredibly well thought out and kept at a minimum compared to the production done in house.

http://www.fme-apparel.com.au/aw15-campaign/


Fashion Design Studio 6 - Microtelier


A-EsqueLeather Goods Designer

Margie McJorrow

A-Esque is an high end leather goods brand started by Amanda Briskin-Rettig in 2012. Focussing mainly on quality rather than quantity, A-esque’s aim is to create orginal designs through artisanal handwork. A main focus for the A-esque team is to create the bags with traditional leather techniques, reflecting the “core philosophy, based on artisanal handwork delivered by true creators” (A-esque culture web page). The handbags of A-esque are forever developing in the Richmond based workroom. Each style is sewn in small runs on salvaged 1960’s and 1970’s leather machines. The leather is sourced from Italy as well as some of the hardware pieces dating back to the 1970’s. Orginally, A-esque started with four patterns as key sihlouettes. Other handbags have grown and developed organically from these patterns, fully exploring the making rather than the marketing statement of a new bag. The bags are known for their original patterns rather than names. Amanda Briskin-Rettig is the driving force behind A-esque. She originally founded Mimco in 1996 before selling the company in 2007 for forty-five million dollars. Amanda realised it was the right time to sell when she felt that she was “losing control of the brand’s vision and was unhappy with how the stock was being displayed in stores” (Broadsheet Article, 2013). This gave her enough financial stability to focus on a smaller business (A-esque) and the quality of its products. She felt that it was time to create a slower paced environment that let its products develop organically with a different customer base. Amanda scaled the company back by keeping manurfacturing in melbourne and focusing on a high end price point. She took out the unneccesary layers of business that were previously weighing her down. This allows her to be more apart of the company, developing the handbags from start to finish. Amanda is trying to re-establish the relationship of high end bags and the consumer. Most luxury brands see bags as lucritive pieces that brag status and consumerism, where as Amanda is trying to shift this focus. “I’m feeling very anti ‘it’ bag. I want you to buy something because you like it and you are going to enjoy it as a private luxury” (Briskin-Rettig, Broadsheet Article 2013) She explores the shift in fashion where her customers revel in high quality handbags, rather than an expression of wealth.A-esque also create bespoke pieces through their "happy face" and "e-motion" handbag series. Each handbag has

the same shape and principle, but the hand appliqued faces have individual qualities like moles or whiskers. This gives each bag its own personality. The customer is motivated to choose a face that they personally relate to, embedding the concept of "the bag not owning the wearer, but for the wearer to own the bag."Not only do the bags each have their own little querks, there is the option for comitted clients to custom make their bags. Whether its making an existing bag in a different A-esque colour, or recreating a piece from a past collection there is flexibility in having your production studio so close to your stores. When starting the A-Esque line, Amanda was certain that she did not want the bags to be overly branded like the current high end market. Preferring subtle labeling, A-esque is seen almost as 'anti-branding' preferring customers to purchase the products not as a lifestyle piece but as a bag they truly love.

References: Interview of Amanda Briskin-Rettig, The Australian 2013 http://www.theaustralian.com.au/life/fashion/unstitched-amanda-briskin-designer-a-esque/story-e6frg8k6-1226549733957

Interview of Amanda Briskin-Rettig, The Australian Financial Review, 2014http://www.afr.com/lifestyle/fashion/accessories/life-after-mimco-the-quiet-aesthetic-of-handbags-20140919-jf96j

Interview of Amanda Briskin-Rettig, Broadsheet, 2013 http://www.broadsheet.com.au/melbourne/fashion/article/bag-lady-amanda-briskin

https://a-esque.com/making/https://a-esque.com/culture/

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Penelope DurstonDesigner under her own name and owner of Cottage IndustryErinn Ferry

Penelope Durston is the proud owner of Melbourne based boutique, Cottage industry. Offering handmade items, from cushions and blankets to dresses and knitted caps , Cottage Industry’s vintage-inspired aesthetic has an equally modern sensibility. Almost all the products are designed and made in-house (under the Cottage Industry or Penelope Durston tags), with additional products sourced from brands such as Cambridge Satchel Co, Trunk and Orderly, Douglas Sandals, Las Ninas, Lost in the Woods, Heico lights, Slade and Lisa B socks. (Broadsheet Melbourne, 2015) While Cottage Industry is craft and DIY focused, this place is not exclusively for nannas and craft goers. Owner Penelope Durston is motivated by the sense of independence and liberation that we gain when we know more about the products we buy. (Broadsheet Melbourne, 2015)She describes her brand as such “We design and make a great deal of what we sell, recycling fabrics and using traditional craft techniques to make products to wear and use around the home. Most of our stock is made in small quantities and our use of vintage fabrics means many production pieces are still unique.” (Penelope Dusrton, Cottage Industry) During an interview with Design Files, Ms Durston was asked about the reasoning behind her small business model of making everything laboriously by hand.“In 2000 I had a serious accident and in all the best clichés it refocused me on what I wanted – or perhaps what I didn’t want – to be doing. Stuck at home recovering I began getting back to what I love best – making things by hand and learning new skills. I am not one of those people who can just send work out to be mass-produced (even on a small scale). I want to participate in the process! I don’t see that my designs are approachable to a huge audience and I’m not interested in that sort of market. I enjoying slowly puddling away designing and creating and it doesn’t interest me in making a huge splash!” (The Design Files)When asked were her source of inspiration comes from

when designing and making her pieces, Ms Durston replied, “I certainly have more of a historical view or ‘look’ rather than a ‘now’ fashion look when I design. I love utility clothing, natural fibres, practical and beautiful wins hands down every day.” (The design files)

This ehtos of participating in the entire process of prodcut is a significant advantage to being a micro practioner. The smaller your business, the more say you have in the prodcuts that are being made. You decide upon every detail. I personally believe that garments have souls, and that they reflect where they have been and who they were made by. The job of the micro practitioner is to allow the items to reflect who they are as designers. A bit of your soul is being left in those items, and because of this, the customer (whoever that may be) will know the love and care that has been taken in piecing together these beuaitufl hand made items.

References:- Lucy, 2007, Penelope Durston Interview, The Design Files, viewed 6th August 2015.<http://thedesignfiles.blogspot.com.au/2008/07/interview-penelope-durston.html>- Durston. P, 2015, Cottage Industry, viewed 4th August 2015. <http://cottageindustrystore.blogspot.com.au/>- n.a, 2015, Cottage Industry, Broadsheet Melbourne, viewed 6th August 2015. <http://www.broadsheet.com.au/melbourne/art-and-design/directory/shop/cottage-industry>

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Pepper ‘n’ PinkDesignerFallon Bobenko

Tyneal Johnson is the designer, pattern maker and administrator of her Melbourne based label, Pepper ‘N’ Pink. Tyneal launched P’N’P in November 2012 after graduating from the Melbourne School of Fashion (MSF) and has since then been working on growing her business in an affordable yet productive way. When asked what she would describe her label as, Tyneal replied with ‘P’N’P is not just a label, I don’t just make clothing. I like to think of myself as time traveler’s assistant. I bring the past to the present with the use of cloth, some thread and my sewing machine in which I named, Jan - she’s a good old girl that machine. Pepper N Pink is vintage inspired, however, I do take into consideration current fabric trends in order to modernize some of my styles. I initially sketch my ideas, which then sometimes I feel need to be draped on a mannequin so that I can generate this concept further. Toiling is exceptionally important, as perfecting every fit and shape is my number one importance. This is such an important factor to the brand that I offer alterations on all styles for customers, which requires sometimes multiple fittings and discussions. This also connects with my vintage inspired theme of ‘doing things how they used to be done’ as cliché as that may sound. With everything I do, I live by the saying “measure twice, cut once”. I take the time and effort to perfect each and every design and creation step in order to create garments of quality that will last generations. With only two collections a year (Spring/Summer and Autumn/Fall) I have the ability to do this. Fast fashion has such a huge impact worldwide leading to ongoing wastage of sometime non-reusable fabrications is astonishing - this is where I, and many others like myself come in to change the current fast fashion mindset. As I am only small and currently do not

have my own retail outlet, I rely heavily on social media for sales and expressing brand updates to followers. My most popular form is Instagram, as I feel photographs portray my ideas best, however, Facebook and particularly Etsy are also very valuable outlets. I plan to grow slowly as I am a one-man business and until I can afford to take on others, it will stay this very personal brand, which this is something I feel very rare within the fashion industry at this time in history.’

References: T Johnson, Personal comm, 4th Aug.

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Felicity Mawson

Fashion design studio 6 - MicrotelierMapping fashion design micropractice

DESIGNER: RMIT


CHORUSDesigner LabelFina Hasnil

First meeting in a textiles class at high school, they have bonded ever since. Cassandra Wheat and Louise Pannell decided to collaborate and establish a fashion house based in Melbourne known as 'Chorus'. A master in Milan, designing for Viktor & Rolf in Amsterdam, visual merchandising in London, teaching in fashion design field and years within the Australian fashion industry, the pair combined their competent experiences to evolve their young label to introduce a new way of working. Each collection Chorus work with a new creative collaborator with the aim of exploring, developing, reinventing ways to approach and display design and also in some way giving the label stimulus or responding in innovative way. The pair also practice in 'design through making' idea by letting design process not the concept of each season to indicate the silhouette, fabrication nor its aesthetic whilst still trying to keep Chorus' own artistic and functional value. Each pieces is released in edition of no more than 30 and are design and made with its very best consideration and care. Producing limited edition women's clothing, Chorus' belief in wearer as their final and ultimate collaborator by producing each collection to be effortless in design perspective, as in looking dressed up and feeling relaxed does not have to be mutually exclusive and providing garments for ladies with contemporary needs and that is for Chorus considered wearer as the eventual collaborator. 'The Wardrobe' is their debut collection, focused on fashions iconic typologies, defining the Chorus version of these as a vehicle to explore the pair's emerging DNA. The mixture of traditional and everyday to create a derivation with an unconscious reference to the classic that went before. For instance, the shirts, the black dress, the tracksuit were redeveloped to inform freedom, away from their formalistic history. The collection features the printed work of design duo Pinar Demirbag and Viola

Renate who have previously woiked with Nike, Adidas and Dazed & Confused magazine. Their ecstatic prints showed across Chorus' crisp shirting to their bomber-tracksuit combination. The materials used were from silk, linen and wool. It's a worth trip to visit the admirable Chorus' studio at The Compound Interest in Kensington where they have set up a peiformative showroom. The ceiling is full where the collection are hanged, the look book photos are projected at the entrance as well as a beautiful video showcasing their current collection. Chorus showroom retail is a multi-function showroom where it has switched for pop-ups and afterwards, their own boutique. This showroom is also allowing customers to cozily watch the pattern making and toiling process from their collection while the store is open. "Fashion is so much about tactility and being able to touch things," says Wheat.

Reference: T Nakiska, Chorus at The Compound Interest, viewed 27 July 2015 < http://www.broadsheet .com.aulmelboumelfashionlarticle/chorus-compound-interest> M Shirbin, Chorus, viewed 26 July 2015 < http://thethousands.com.aulmelboumel goods/chorus#4>

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Busyman BicycleDesignerFina Hasnil

Melbourne has a growing community of practice in relation of bespoke and craft, one of them known as 'Busyman Bicycles'. Mick Peel is a designer and a maker, a teacher and academic. He's the owner ofBusyman Bicycles and is a perfection when it comes to leatherwork. Busyman produces exquisite customise bikes, hand crafted leather saddles, bar covers, toe strapThis micro-practice starts from a PhD project that turns into a viable business. His master degree was about surface decoration particularly on fabrics and integrating it with experimental pattern cutting, which is very applicable to designing custom saddle covers. Initial idea of Mick's PhD is about designing through making rather than drawing and asking somebody else to make it. The main focus of his project is ''Busyman Bicycles". The project initially starts from a process of rebuilding an old bike into a fixie which generates him to do another one. Mick's next step was to attempt covering a saddle with leather, it was a Taiwanese manufactured generic brand, where people usually find on a normal bicycle. The materials he had were used leather scarps to cut down his costs of making. Mick also used contact glue to glue the leather on to the saddle. There were problems in the beginning of his making process, where he needs to stick the leather properly with contact glue, if it doesn't stick correctly and have to pull it off again, it tears apart the foam. However, the process kept improving as he slowly learnt the intricacies of this new technique of making and most importantly how the key materials involved worked in conjunction with each other and also how it employs a beautiful mix of old and new innovative techniques. Mick normally used kangaroo leather to most of his work unless he could not get the req nested colour, then he would use cowhide or goal or kid leather. Kangaroo leather costs twice the other leather but it is more durable and stronger compares to other types of leather. The

steps involved from consultation with customers to design production are quite similar as 'made to measure' process in fashion industry. Firstly people will contact him via email, they enquire about price and what sort of saddle they have, some rough ideas as what they have in mind or even referencing his previous designs work to consider with, then they will either post the saddle or drop in at his studio. Mick's work is manually crafted, majority of his stitching is done by hand, he also incorporates laser cutting technique to cut the leather and extending the digital practice in communication side; through the blog and working in two dimensional design ideas. After 21 years at l\.1elbourne's R!vlIT University as a lecturer in fashion design and earned a PhD, Mick has finally taken the plunge taking Busyman Bicycles full-time. Busy man Bicycles now has been known internationally, his unforgettable and famous customers so far would have to be Richard Sachs, an American bicycle frame-builder and he has also taken an order from a British fashion designer, Paul Smith. References: V Patel, Busyman Bicycles' Mick Peel, viewed 28 July 2015, <http //cyclingtips.com .au/2012106/an-interview-wi th-busyman-bicycles-m ick-peel/> M B:mdrie, Busyman Bicycles - Bespoke Handmade l..eatherwork, view 30 July 2015,

<http://www.lavelocita.cc/profilelbusyman>

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A basic set of cmronatly used tods by Mick 111 hen he is designing a saddle cover.

One of Mick:, early saddle designs.

DESIGNER: RMIT

DESIGNER: RMIT


Richard NylonMillinerJayde Hayes

The eclectic Richard Nylon has established himself as one of Australia's most revered milliners, creating couture pieces hand crafted in Melbourne that are never short of inspiration. Born in country Victoria, Nylon made the move to Melbourne where he immediately immersed himself in the current 80s fashion which led him to study fashion on somewhat of a whim. Initially millinery started off as an accessory to Nylon's first career as a fashion designer. It wasn't until Nylon felt the need to create hats to compliment his designs that he fell into the world of headwear where he is firmly established as one of the elite in his field of design.'...I always created hats to go with the outfits I designed for myself and my friends. Being self-taught I trust that I have learnt from my mistakes. I have definitely learnt quite a few ways not to make a hat.' (Nylon 2013).Interestingly, Nylon is somewhat of a self-taught milliner, using a range of techniques he has developed over the years to create original pieces that are often considered wearable art; a feast for the eyes and imagination. While Nylon's work is often considered unconventional in regards to the methods and the materials he uses to create his outlandish designs, Nylon is also aware of being respectful of the tradition of millinery. However, it wasn’t until Nylon began collaborating with Melbourne fashion designer Gwendolynne Burkin of label Gwendolynne that pushed Nylon to the next level: 'People did know my name back in the 80s, when I was doing stuff for the Fashion Design Council but it was really with the hats, and putting them on the catwalk with Gwendolynne that made the difference for me.' (Indesign Live 2015).'Gwendolynne possesses an aesthetic I appreciate and admire. Her work is very beautiful with an ‘old world’ feeling but at the same time, very modern in concept and she is aware of how a woman of today wishes to dress.

My work compliments Gwendolynne’s as a punctuation to the poetry of her gowns.' (Nylon 2013). Nylon still works alongside Burkin at their joint stand-alone boutique studio at 71 Kerr Street, Fitzroy where they will often collaborate on custom made, bespoke designs for special occasion or bridal wear clients. This co-design relationship has assisted both labels in evolving, allowing clients to be consulted on the overall look of an outfit – hat and garment – by such a dynamic duo.Further extending from Nylon and Burkin's co-design studio, Nylon teacher regular classes at RMIT, allowing students to learn from his experiences as a milliner while encouraging them to find their own methods and ways of experimenting to create beautiful or obscure or beautifully obscure headpieces.'My favourite question is ‘why?’. I think to myself, if that material is used like that, why can’t this material be used like this? I do a lot of experimenting!' (Nylon 2013).Nylon's creations have graced many runways and the heads of many celebrities including Kate Bosworth, Megan Gale, Jennifer Hawkins and Australian icon Dame Edna.

Richard Nylon 2013, visited 1 August 2015<www.richardnylon.com>

The Millinery Association of Australia 2015, Richard nylon millinery, visited 1 August 2015<http://millineryaustralia.org/milliner/richard-nylon-millinery/>

Indesign Live 2015, Meet milliner richard nylon, visited 3 August 2015<http://www.indesignlive.com/articles/people/meet-milliner-richard-nylon>R

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DESIGNER: Untraditional/Upscale


Martha PoggioliFashion PractitionerJosh Chih-Lin Nien

Martha Poggioli is a creative practitioner based in Melbourne Victoria; she operates her independant studio in The Boyd School in Southbank.

From initial concept development, design illustration, sourcing ethically made fabrics, and sewing that last thread, Martha embraces designing and making simultaneously and respects each steps involved.In the beginning of her creative career she questioned if anything can be done to solve the problem of mass production and fast fashion; the label Inside Outside, the name that was drawn from the three way relationship between clothing, the body and the human experience, is her mean of contributing to the community and engaging in a post-materialistic manner.

Handmade is an essential element of her practice; in her interview with Craft she said ‘In world that is increasingly driven by digitisation, automation and mass-production, I believe the handmade represents the human element in objects. The relationship between maker and user has changed so much even in the space of a couple of generations. Where do all of the clothes we wear come from? Who made them? What conditions do the makers experience whilst making them? These are questions I ask myself a lot.’Against mass production and fast fashion system, Martha’s work centres around the belief that we can do a lot more with a lot less. Martha makes clothes on a Made to Measure basis and releases small collections from time to time.

Besides selling at various local boutiques and private clients, Martha has found online social media great platforms to connect and communicate with both existing and potential clients.

The freedom of operating own studio also comes with its challenges, including accomodating increasing orders and sourcing overseas fabrics in an ethical manner. Martha recently launched new colleciton Walk Through a Door, and ‘it is framed around the doorways we constantly move through in our lives, be it literal, metaphorical or spiritual’.

References:Craft.org.au, (2014). Craft Cubed Interview – Martha Poggioli’s New Dress | Craft Victoria. [online] Available at: http://www.craft.org.au/news/craft-cubed-interview-martha-poggiolis-new-dress/ [Accessed 9 Aug. 2015].Spaces, C. (2015). MARTHA POGGIOLI (designer, maker ) | Artist in Residence Creative Spaces. [online] Creative Spaces. Available at: http://www.creativespaces.net.au/artists/522/martha-poggioli [Accessed 10 Aug. 2015].

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DESIGNER: Untraditional/Upscale


Recycle, Up Cycle, VintageMaterial OriginsWillem Jakub

The term recycle or reuse is a common phrase in modern society. The ever-growing need to be ‘green’ and reduce your footprint is at the back of everyone’s mind no matter what his or her discipline is. All these terms are not just limited to the practice of fashion design but are welcomed in all areas of design such as furniture and architecture as well. First of all there a lots of different terms regarding a similar subject yet all mean a slightly different thing.

Vintage is a widely used term that can refer to a certain design aesthetic that is ‘old’ style or something from fifty years ago. In terms of reusing, vintage doesn’t essentially mean its recycling the fabric, but instead refers to fabrics and materials that are old and not necessarily been used before. Many vintage cloths and buttons have been in storage or left in factories for years and are then brought out years later and referred to as authentic vintage.

Recycling often refers to the practice of taking cut offs and remnants of fabrics that other designers or businesses have discarded as waste to create something new. Often the practice of recycling will incorporate the unconventional shapes of cut-offs to generate a garment that is not necessarily from a recognisable block. This method is hardly ever to create many pieces of the same thing and is a perfect process in making one off pieces.

Up cycling or repurposing is also a common practice that is used by many high fashion design labels too and is not just limited to micro designers or small practices. Usually through this technique, old or previously made garments are taken apart or cut out of to create something new. In some high fashion labels it is recognisable in garments that they have been previously made into something else. Whole garments have been made out of old gloves,

pockets, sleeves and other pieces of previous garments.

Financially these practices can suit a small design practice very well as they can often ask other larger labels to donate their scraps and cut offs. Although some vintage fabrics and buttons can be quite expensive if it good quality it is common to find warehouse sales that stock old fabrics at discount prices. Of course these methods don’t always lend itself to every style of design aesthetic as it creates quite a unique piece and require a certain type of imagination.

References:

http://www.maisonmargiela.com/https://alexandratherese.files.wordpress.com/2011/05/gary-harvey-newspaper-dress.jpg

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DESIGNER: Craft


LUCY SIMPSONDESIGNERBy Winnie Li

Textile Designer Lucy Simpson, who upon completing her

masters degree at Edinburgh College of Arts in Scotland,

established a materials-led practise working with

unconventional components in unexpected ways. Her process

allows experimentation to act as her starting point, and

develop these initial trials and samples in an organic manner

where her research stems from ways to improve or achieve

certain effects thus leading to new directions and ideas.

Her philosophy is derived from the desire for something to

engage us, to separate from the mundane of the everyday

routine where both designers and consumers spend their daily

the presence of digital technology overpowering our society.

The surprise elements and tactility of her work allows

audiences to immerse themselves by being compelled to ‘reach

out and touch’ them. The playful dimensional features and

bright candy-coloured hues that mimic the appearance of

frosting also add an edible quality to entice the viewer.

Simpson combines resources such as expanding foam, beads

and sandpaper that she sources herself from bargain stores,

and integrates them into her own traditional textile mediums,

in order to form a consistency with her own design signature.

However, the material that is most evident in her work is

silicone. Simspon states that the use of silicone helps “further

emphasise the beauty of the handmade”. To further enhance

these materials, she also incorporates and combines several

other methods such as digital printing, laser cutting and

embellishment/beading techniques to push the designs to its

limit.

Simpson allows the materials to spontaneously form the end

results and embraces the inevitable changes that occur. For

example, the use of silcone on stretch fabrics causes the fabric

to warp because it is being restricted by the solid state of the

silicone. Rather than trying to disguise it she celebrates it and

uses it to her advantage. She also likes to challenge the existing

textures of her chosen base cloth, for instance the ridges in

corduroy are contrasted by using the silicone to create ridges

visual interest of the work.

creative level because it allows her to have full control of the

materials, since they are so unpredictable, she is able to dictate

the end design, with each being completely unique. Whereas if

she was operating on a larger manufacturing scale, these more

minute details would be out of her hands, and she would need

to provide consistency across all her products, which would

take away from their individuality.

ght and vibrant coloured neoprene fabric, that is incredibly

dynamic and effective.

References:1. Lucy Simpson 2015, Silicone, Lucy Simpson, viewed 2 August

2015, <http://lucy-simpson.com/silicone>

2. Neklesa, A 2014, The Best of London Design Festival 2014,

Design Collector, viewed 2 August 2015,

<http://designcollector.net/the-best-of-london-design-festival-

2014/#vxXyXVRsv2JuhpFy.99>

3. The Cutting Class 2015, Silicone Texture By Lucy Simpson,

The Cutting Class, viewed 2 August 2015,

<http://thecuttingclass.com/post/109901230968/silicone-tex

ture-by-lucy-simpson>

4. Thompson, J 2015, Textile Designer Lucy Simpson, design

juices, viewed 2 August 2015,

<http://www.designjuices.co.uk/2014/08/textile-designer-luc

y-simpson/>

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DESIGNER: Craft


Ink and SpindleBoutique workshop

Anmin Lan

Ink & Spindle is a boutique workshop located in Kensington, Melbourne. Rather to say this is an industrialized brand, I think this is more like a handmade studio. Run by Lara Cameron and Tegan Rose, and a new partner Caitlin Klooger to join this brand in February 2014, the common point of them is that they all love Australia’s native flora and fauna, also inspired by every natural things and the energy of the urban environment in Melbourne. They aim to create designs have the sustainability, and the textiles that will adapt to people’s life for many years after, rather than following current fashion design trends.On their official website, they list six main features of the brand:1. Advocate and use organic, sustainable and fair trading base cloths.2. Use water based, solvent free inks, and they also minimize the water wastage by using high pressure to clean screens. In addition, their range of basecloths includes blends of organic cotton, hemp, yak and linen, in medium and upholstery weights.3. Use recycled paper, cardboard and reuse boxes and packaging materials where possible.4. Design for durability, not in line with the momentary or the periodic trends.5. Have a water-board certified separation system to avert waste ink fleck from entering waterways.6. Use biodegradable cello for packaging, as opposed to plastic.Above all six points show clearly how importance of the sustainability is mean to them. Moreover, from the website, they said that they love working within the limitations of screen printing and hand printing, with all these designs requiring only one or two colour separations. They use overprinting, screen flips and displacements to create beautiful results from only a

single screen. Also, their textiles are mainly sold as meterage, kits and a small range of home wares. However, their textiles can also be found around Melbourne & Australia made in to bags, lampshades, home wares, and so on. “ Our desire to live, work and create in an ethical and sustainable manner has influenced how Ink & Spindle began and developed. Everything from the materials we carefully select, to our production processes, to our everyday business decisions. It all reflects our aim to walk softly on the earth.” I really like this paragraph which they wrote on the website, consider the earth pollution, I assume that we should more think about the sustainable and eco friendly practices.

References:Ink&Spindle 2013, Ink&Spindle, viewed 6 August 2015.<http://inkandspindle.com/>Ink%Spindle 2014, The end of an era, Ink&Spindle, viewed 6 August 2015.<http://inkandspindle.blogspot.com.au/>Ink&Spindle: Lara & Teegs on Teegs’ last day in the studio, n.d. photograph, viewed 6 August 2015, <http://inkandspindle.blogspot.com.au/>Ink&SpoBracken in Slate made by Lara, n.d. photograph, viewed 6 August 2015,<http://inkandspindle.blogspot.com.au/>

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DESIGNER: Craft


Mandy DuncanPaper ArtistJayde Hayes

Mandy Duncan of Curl Paper Artistry is a sculptor of another kind who has a limitless imagination when it comes to dreaming up handmade paper designs, in the form of décor, fashion accessories and fashion garments. Duncan blurs the lines between art and fashion in the realm of paper design.Duncan, who is situated in the seaside town of Mornington, just outside of Melbourne fell into her career unintentionally. Duncan was helping her daughter at a craft stall and started creating a paper flower from a travel magazine. A lady then came along and purchased it and so Duncan made more in different colours. Duncan's exploration into paper design continued with the use of different textures, thicknesses, and finishes of paper. Pieces are commonly developed from sheet music, pianola rolls, paper from atlases, fabbriano papers, and paper hand-painted by hers truly. Surprisingly Duncan has only been experimenting with paper design for just over two years."I'm a creative person so the more I work with paper the more creative my pieces become. I've made wearable paper fashion, flowers for weddings, installations for shop windows and events, but I'm now concentrating on paper millinery which is really popular." - Mandy Duncan (All Things Paper 2015).Interestingly the nature of Duncan's artistry naturally brings into question the concept of sustainability and in particular disposability in relation to consumer goods such as fashion. Duncan's designs as a result of being made from paper are all disposable and bio-degradable. While methods of layering paper are utilised to create durability in her designs there is ultimately little wastage as a result of her design esthetic and all her pieces can potentially be recycled. A range of Duncan's designs can be selected at the Melbourne millinery boutique The Essential Hat. Duncan

also accepts commissions and teaches Paper Couture workshops as part of her practice allowing others to explore and develop skills associated with handmade paper design.

References:

Curl Paper Artistry 2015, visited 1 August 2015. <http://www.curlpaper.com.au/>

All Things Paper 2015, Paper millinery by curl paper artistry, visited 1 August 2015<http://www.allthingspaper.net/2015/07/paper-millinery-by-curl-paper-artistry.html>

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DESIGNER: Craft


S!XDenise Sprynskyj and Peter Boyd

Zhanyang Tan (Lucy)

Sprynskyj and Boyd, graduated in 1993 from RMIT fashion design. They established their Melbourne-based label S!X after graduation.

Recycling, deconstruction and reform are their main concept. Sprynskyj and Boyd are fascinated by small hidden construction techniques in mostly tailored garments. Therefore, they explore through recycling garments, finding new hidden construction and interesting pattern pieces. Inspired by Japanese designers, from previously worn garments though deconstruction and reforming, they create ‘New’. Something that hasn’t been done before, unrevealing seam inside out, unrevealing edges, neck line, pockets, armholes and sorts of functioning has now become something else. ”Unfinished” is Peter Boyd’s least favourite words, instead he will ask you “Explain what is finished?”

For a micro fashion design practice, other than expensive organic materials that neither most of designers or customers could afford, recycling is indeed another way of expressing eco-friendly fashion. Not just the materials budgets are lowered, it is also a good starting point of designing. Sometime facing a pile of old styled garments is actually better than facing a piece of blank paper. Often their inspiration start with choosing a couple pieces of interesting worn garments to collaborate. Then they take them apart.

For Sprynskyj and Boyd, it is always exciting and surprising to take garments apart. While pulling apart a piece of garments into flat patterns, sometimes you find new pattern making and construction methods, and sometimes you find new inspirations. Especially in tailored garments, it is surprising to see how complicated and different inside structures are for each one of them. Some hidden techniques are small but have its own purposes. For

Sprynskyj and Boyd there are no commercial elements, only pure creativities, therefore there are no restrictions. “Why not!” that is the most often thing you will hear from them. Almost none of the ideas will be rejected by them, as long as you can make it, it will work.

References:The power house museum, FASHION LABEL: S!X DESIGNERS: DENISE SPRYNSKYJ AND PETER BOYD, viewed 05 August 2015http://www.powerhousemuseum.com/sourcingthemuse/des_six.php

The power house museum, TRANSCRIPT OF INTERVIEW WITH DENISE SPRYNSKYJ AND PETER BOYD FASHION LABEL: S!X, viewed 05 August 2015

http://www.powerhousemuseum.com/sourcingthemuse/int_six.php

The power house museum, THE POWERHOUSE OBJECTS WHICH INSPIRED DENISE SPRYNSKYJ AND PETER BOYD (S!X), viewed 05 August 2015http://www.powerhousemuseum.com/sourcingthemuse/obj_six.php

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S!X Inspiration Christian Dior woman's suit 1950

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DESIGNER: Craft


Dear EthelDesigner

Willem Jakub

Melbourne based label, Dear Ethel was an interest born after the passing of the wonderful and much loved grandmother of designer Meg Strode. The always crafty and creative designer found solace and healing through sewing and thus the brand started in memory of her grandmother Ethel May Robertson.

Dear Ethel creates mainly quality coats and jackets and this was a choice made after the realisation that an original, well

of shopping and hunting for that perfect garment.

Dear Ethel draws inspiration from vintage patterns and also

coat is carefully chosen with the given era in mind. Strode

where available, remnant coating materials as well as vintage buttons sourced from around the world. The

Dear Ethel designs are created on the inside through the use of interesting linings as ‘it adds both character and individuality to the piece’.(Strode 2015) Currently repurposed vintage Japanese silk kimonos are being used as the lining.

On occasion Strode does have help from her mother Maggie, in regards to sewing, who has been her sewing teacher of sorts, as the designer has no formal training. But simply her love and passion for the craft allows her to continue learning skills even when particularly confused. Both machine and hand sewing techniques are used throughout the construction process. This ensures not only a high quality and long lasting garment, but also a unique,

Although the label is only just over a year old, the designs are stocked at retail outlets in Daylesford, Victoria and also through online mediums such as Etsy. Recently Dear Ethel has had a stall at the Rose Street Artist Market and is in the process of creating a website, Instagram and Pinterest to create buzz around the brand to allow further recognition.

The designer explained that, ‘A piece is never rushed, but instead comes together over what can sometimes be several weeks to a month. Each garment is very much a one of a kind, timeless piece of clothing that can be treasured for many years to come.’(Strode, 2015)

References:

https://www.facebook.com/dearetheldesigns

Meg Strode 2015, pers. comm. 27 July 2015 (Designer of Dear Ethel)

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DESIGNER: Craft


Amy RevierTextile artist and designer

Erinn Ferry

Amy Revier is a Texan artist, who is now based in London. First and foremost, Ms Revier is a textile artist, with fashion pieces and wearable artefacts being a secondary outcome that she stumbled across naturally during her creative process. “I was interested in making shapes,” Revier stated. “Sculpture is a lot about shape, but for me I became interested in how the body can be performative with sculpture. So, what I really became interested in were these ‘hibernation investigations’ that were performative. What I was producing were these long unfurling body and head wraps, made out of densely braided, unspun camel hair and silk worm cocoons. I would then film performances of wrapping and unwrapping and for me, this became a metaphor for density and searching.” (Shahnavaz, N, Because London)Amy’s “searching” was the foundation for what she does today. Her design practice is a mix of art and craftsmanship. It was only when she moved to London in 2011 that she began making clothes. “I made this slight shift but in my eyes, these clothes are like little sculptures, they are one-of-a-kind pieces.” (Shahnavaz, N, Because London)

To describe Amy’s clothes as art makes absolute sense. Her work is heavily focussed within a concept and process, and when a new collection is complete, she typically showcases via an installation at a gallery space, rather than selling in a fashion boutique. “My background isn’t in fashion and textiles. I’m a self-taught weaver, and I intentionally turn a blind eye to the seasonal throw-away culture of the fashion industry.” (Shahnavaz, N, Because London).This business model isn’t a money maker, and isn’t encouraged from a sales and marketing point of view. But it is an art form, and as such, has a very specific client base that keeps Revier’s business

alive.Ms Revier’s buyers tend to be artists, art collectors or dealers, who she encourages to take their time in selecting pieces with the attitude that the garments should last a lifetime. “It’s really important to me to have people grow with the work. The relationship I try to maintain with my clients, is an on-going one. So, if in 20 years there’s a moth who has eaten through one cashmere coat, I will repair it – these sort of things should remain open and flexible.” (Shahnavaz, N, Because London).This type of relationship is extremely important for small business owners, and micro practices alike, because you are building the foundations for a trusted and sought after product, something that is key to a successful small business.

References:

Shahnavaz.N, 2015, Because London, Amy Revier, Because London. Viewed 12th August, 2015 <http://becauselondon.com/fashion/2015/01/amy-revier/ >

Revier. A, 2015, Amy Revier, Read, Amy Review. Viewed 12th August, 2015. <http://www.amyrevier.com/read>

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DESIGNER: Craft


Anna DavernJeweller/DesignerRenee Andrew

In the shared studio on the 8th level of a flinders lane building, contemporary jeweller Anna Davern creates an array of pieces from australian-kitcsh brooches to high-fashion statement jewellry. As a Micro-preneur davern advantageously looks over all parts of her business, the function of her website and the creation of all her pieces. Davern gained her undergraduate degree at the Sydney college of Arts in jewellery and object design and then went of to complete a masters degree at our very own RMIT. Davern has been a highly involved craft community member, exhibiting her work in a number of local Melbourne spaces including Eg.Etal and Craft Victoria. Subsequently this inspired her to form the community craft studio space North City 4 based in Brunswick. “Northcity4 is an incorporated association so we run as a non- profit organisation with a commitment to supporting Melbourne’s contemporary jewellery and small object making community.” Classes are offered to the public at varieying prices and can be attended by any level of skill. Studios are also available to lease for 6 month periods to artisans and local creatives. Davern offers up her signature ‘Sublimation metal printing’ as a whole-day class (on in early November) at North City 4 as do the other 4 craftspeople Romani Benjamin, Katherine Bowman, Caz Guiney and Ali Limb. Sublimation printing is a simple technique of transferring images onto metal and plastic using heat machinery such as a small heat-press and fuse. Davern’s most famous collections is Rocks, where oversized life-like jewels are printed onto flat aluminium and are played off in a sarterical reference to royalty and adornment. “I’ve used the technique to create oversized fake versions of traditional styles of jewellery. It’s kind of an homage to one

of the initial tenets of Contemporary jewellery which was to react against the use of precious materials. These works are also an alternative to the real thing at a time when the real thing may no longer be affordable.”These pieces are for sale in numerous Melbourne Boutiques and are currently displayed at Craft Victoria. In an interview hosted by Eg. Etal, Anna Davern describes the most important part of her workspace. ”My bench and my bench peg. A jeweller’s bench peg takes on the individual marks of the person who works at it and it is the most important part of my workspace.”

References:

Egetal. 2010. Anna Davern. [ONLINE] Available at: http://egetal.com.au/news/post/anna-davern-on-australiana-biscuit-tins-and-craft-victoria.

NorthCity4. 2015. NC4. [ONLINE] Available at: http://northcity4.com/.

Anna Davern. 2011. Anna Davern. [ONLINE] Available at: http://annadavern.com.au/.

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Anna DavernJeweller/DesignerRenee Andrew

In the shared studio on the 8th level of a flinders lane building, contemporary jeweller Anna Davern creates an array of pieces from australian-kitcsh brooches to high-fashion statement jewellry. As a Micro-preneur davern advantageously looks over all parts of her business, the function of her website and the creation of all her pieces. Davern gained her undergraduate degree at the Sydney college of Arts in jewellery and object design and then went of to complete a masters degree at our very own RMIT. Davern has been a highly involved craft community member, exhibiting her work in a number of local Melbourne spaces including Eg.Etal and Craft Victoria. Subsequently this inspired her to form the community craft studio space North City 4 based in Brunswick. “Northcity4 is an incorporated association so we run as a non- profit organisation with a commitment to supporting Melbourne’s contemporary jewellery and small object making community.” Classes are offered to the public at varieying prices and can be attended by any level of skill. Studios are also available to lease for 6 month periods to artisans and local creatives. Davern offers up her signature ‘Sublimation metal printing’ as a whole-day class (on in early November) at North City 4 as do the other 4 craftspeople Romani Benjamin, Katherine Bowman, Caz Guiney and Ali Limb. Sublimation printing is a simple technique of transferring images onto metal and plastic using heat machinery such as a small heat-press and fuse. Davern’s most famous collections is Rocks, where oversized life-like jewels are printed onto flat aluminium and are played off in a sarterical reference to royalty and adornment. “I’ve used the technique to create oversized fake versions of traditional styles of jewellery. It’s kind of an homage to one

of the initial tenets of Contemporary jewellery which was to react against the use of precious materials. These works are also an alternative to the real thing at a time when the real thing may no longer be affordable.”These pieces are for sale in numerous Melbourne Boutiques and are currently displayed at Craft Victoria. In an interview hosted by Eg. Etal, Anna Davern describes the most important part of her workspace. ”My bench and my bench peg. A jeweller’s bench peg takes on the individual marks of the person who works at it and it is the most important part of my workspace.”

References:

Egetal. 2010. Anna Davern. [ONLINE] Available at: http://egetal.com.au/news/post/anna-davern-on-australiana-biscuit-tins-and-craft-victoria.

NorthCity4. 2015. NC4. [ONLINE] Available at: http://northcity4.com/.

Anna Davern. 2011. Anna Davern. [ONLINE] Available at: http://annadavern.com.au/.

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CHAPTER TWO: TEXTILES

RMIT graduates are using their large range of skills to create designs that range from bespoke to small and potentially growing labels. These graduates are positive inspirations for us as up and coming designers as it shows that hard work and dedication will pay off as creative satisfaction is gained through exploration and creation.

TEXTILES


TEXTILE EMBOSSINGTOOLBy Winnie Li

Embossing, also known as Blind Printing or Relief printing, is a process in which heat and pressure is applied to a surface to create the impression of images and/or patterns. Essentially these designs and decorations appear by adding new raised dimensions to the material. Anything from wood, glass and tiles can be embossed, but this article will focus majorly on textile embossing.

Textile embossing is mainly used for amplifying the aesthetic appeal of a certain fabric or garment, due to the tactile appearance of the added dimensions. It can act as an embellishment, provide depth and texture or simply draw the attention to a logo for marketing purposes.

There are several types of embossing, these include single level and multi level embossing, where the

varying levels to give complexity to the image, respectively. To further enhance the effects of embossing, you can also use tint embossing which incorporates the use of pastel foil or pearl, print embossing where a print can be applied to complement the embossed design, or glazing which gives a shine to the fabric by using different machine settings.

Commonly in the fashion industry, to produce large quantities of embossed fabrics, they use a calendaring process which feeds fabric through a machine with a series of rollers. One is a heated steel roller and the other is coated with paper or cotton and has an engraved pattern on it, this pattern becomes imbedded onto the fabric. The combination of heat and pressure applied at point of production will affect the longevity of the embossed design. However, embossed fabrics can generally withstand wear and tear, lasting on average up to 50-60 washes. Unfortunately for small scale designers, embossing is not widely accessible, two ways that a

practitioner could approach it is in a D.I.Y manner where you need to select a fabric with a nap/pile, which you then heat right side down onto a carved rubber stamp design with an iron. However this method can mainly only produce a single stamp print, unless you went on to repeat it all over the fabric. The other method is to build your own embossing machine.

One small scale designer who has revolved her work around the art of embossing is Tiffany Loy, having studied industrial design, it has helped further her understanding of the technical sides of embossing, leading her to create 2 part moulds for experimentation and even her own ‘The Emboss machine'. The machine consists of a pegboard base with stainless steel dowel pins that can be rearranged to form different variations of patterns. Loy’s signature style is creating big bold textures on bright and vibrant coloured neoprene fabric, that is incredibly dynamic and effective.

References:1. Abu, MD 2013, What is Calendaring? Embossing Calendaring, Textile Apex, viewed 30 July 2015, <http://textileapex.blogspot.com.au/2014/03/embossing-calendaring.html>2. Cutting Class 2011, Embossed textiles by Tiffany Loy, The Cutting Class, viewed 30 July 2015, <http://thecuttingclass.com/post/122350077298/embossed-textiles-by-tiffany-loy>3. Ehow Editor 2013, How to emboss fabric, Ehow, viewed 30 July 2015, <http://www.ehow.com/how_2316295_emboss-fabric.html>4. Fibre 2 Fashion 2009, The Elegant Art of Textile Embossing, Fibre 2 Fashion, viewed on 20 July 2015

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http://www.printsome.com/blog/2013/screen-printing-the-story-far/

SCREEN PRINTINGTool

Nadia McLeod

Screen printing is a tool and technique used in various creative disciplines to decorate textiles, ceramics, plastics, glass and metallic surfaces. The history of screen printing can be traced back to ancient Egyptian, Chinese, and Japanese cultures where stencil work was used to decorate floors, fabrics and pottery. This method was then introduced to Europe in the late 1700’s and has transformed from a hand-operated tool, to one that is industrial in its processes.

A screen print consists of three elements - the mesh screen, the squeegee and the ink or medium. In the textile industry, screen printing is typically used to print on lengths of fabric using inks that are water-resistant (Polyvinyl Acetate, PVA), as a form of decoration or branding. A stencilled image is created either by hand or digital format, which is then placed on the image screen ready to print. The printed design is air-dried and then heat cured to lock in the wa-ter-proof qualities of the ink. This type of printing is typically seen on printed T-shirts and banners.Heat transfers also use Screen Printing with inks specifically designed for paper transferring. This requires heat-curing (temperature of 120°C for 1 1/2 minute) to ensure a secure bonding of the print to the surface once the paper is removed, leaving the print attached to the fabric. Another use of Screen Printing in relation to textile treat-ment is its ability for Flocking. This is a process that creates a velvet-like texture to paper and fabric using a special adhesive or gloss ink that is printed onto the surface. The textile is then placed against a metal sheet, and fired with a distributor gun to deposit small monofilament fibre particles which make up the permanent, textured print. This

technique can be used on polyester, nylon and rayon fabrics, and is typically seen on wallpapers and upholstery fabrications.The use of shaped boards when printing garments allows for a higher quality print as it provides a more regular surface for even ink deposit. Bleach can also be used in replacement for inks when screen printing. This creates a negative discharge process that removes pigment from pre-dyed fabrics, to add pattern or imagery to the surface with the use of a stencil, without having to add a layer of ink which can alter the hand of the textile or garment.Screen printing services are available commer-cially, and typically offer printing in small or larger orders on products such as bags, stubby holders, aprons, T-shirts and fleeces.

http://www.huayeahfabric.com/portfolio/upholstery-circle-design-flocked-soft-linen-fabric/

References

Mara, T, 1979. The Thames and Hudson Manual of Screen Printing. 1st ed. London: Thames and Hudson.

Printing Process Descriptions: Environment and Printing Website for the Printing Industry. (Online) Available at: http://www.pne-ac.org/printprocesses/screen/. (Accessed 03 August 2015)

Services | Machine Screen Printers. 2015. (Online) Available at: http://machinescreenprinters.com.au/machine-services/. (Accessed 04 August 2015)

TEXTILES


3D PRINTINGMadeleine Cope

3D Printing is the process of making three dimensional products from a digital file. 3D printing can actually be traced back as early as 1980 and the first 3D printing system was sold in 1988. Fast forward to more recent times where the technology has been further advanced you can now buy industrial size 3D printers for under $10,000 and more recently more commercial printers under $5,000 making it a much more accessible tool to creatives. 3D printing has been mentioned as an industrial revolution as it heavily increases the accessibility of products to consumers. 3D printing is an additive manufacturing process; which works by building the product up (top to bottom) in small mm layers. One of the main aspects that 3D printing has successfully eliminated is the process of making something out of a larger piece, meaning when you mould, cut or create an object there is often waste from the original piece involved. 3D printing creates no waste as it only produces the item to its exact measurements specifically to complicated angles/designs. 3D printing has also been so fascinating as it doesn't have many design limitations when it is contrasted to human manufacturing where each design will have to be placed together using your hands or tools and each step also can be an additional cost. There is still advances to occur to 3D printing however it has already revolutionised many

complicated processes. 3D printing has been used to create objects, food and is now being experimented with creating body parts. In the fashion industry 3D printing is certainly being experiemnted with by creating garments using fine weaves of silicone and plastic however

http://www.powerretail.com.au/wp-content/up-loads/2012/08/3D-printed-complex-366x270.jpeg

http://3dprint.com/wp-content/uploads/2014/12/3d2.jpg

TEXTILES


Digital PrintingMargie McJorrow

There are different types of digital printing, the most popular methods being inkjet and laser printing. During these methods, fabric passes through rollers and small drops of pigment and toners are deposited onto the surface, creating a thin layer. It is adhered using a fuzer fluid that sets using heat or UV curing processes. The print can also be printed onto transfer paper and transfered onto the fabric with heat up to 200 degrees. Different types of ink are used for different fabrications as they absorb pigment differently. This means that you can get varying effects depending on your choice of fabrication. So why digital printing over other printiing methods? The great thing about digital printing is that you do not need to replace printing plates through out the process like traditional methods. This results in a quicker turn around and is less costly but it can result in less detail than other printing processes. The good thing about digital printing is that you can produce small runs and samples for a low cost because there are no screens to prepare and most digital printers do not have minimums. Yet all new technology can be expensive and for larger quantities of fabric it may be more costly. Digital printing is also better for the environment than traditional printing methods. There is minimal to no ink wastage as the exact amount of ink needed is put onto the fabric. There is also less water used. There are also downfalls in digital printing. Some digital printing businesses do not let you supply your own fabric as they prefer their own, or if you do provide your own fabric it must have a high polyester content. Most compositions can be printed on, some will be duller than others though. Particular colours like deep reds can be hard to print and it may take a few gos to match colours perfectly. If you plan on digital printing in house, the digital printing machines are quite expensive costing $10’000 to $70’000 not including ink or maintenance. This may not be feasable for small businesses.The creation of digital printing has created alot of pontential for fashion and micro-businesses. The low cost for making small pieces means that prints and artwork can be changed and customized easily. This

would be particularly affective in the creation of bespoke pieces or customizing garments or accessories for clients. This also gives businesses the chance to create individual prints without having extensive knowledge about print making. Prints can simply be made on photoshop, illustrator or other programs. This can also allow for designers and artists to easily collaborate around the world, printing artwork on to fabric that will then be made into garments.

Melbourne Digital Printers: http://digitalfabricprinter.com.au/fabric-printing-order-enquiry/http://www.thesocialstudio.orghttp://www.frankieandswiss.com.au//http://www.bravoprint.com.au/services.html (is directed towards commercial products but doe print for fashion purposes.) http://www.maxfrost.com/digital-fabric-printing/custom-fabric-printing (Max Frost is Sydney based but has Melbourne agents.)

Information: http://fashion-incubator.com/introduction-to-digital-fabric-printing/https://en.wikipedia.org/wiki/Digital_printingPrinting websites listed in Melbourne Digital Printers.

http://www.frankieandswiss.com.au//

Heat Press Digital Printing

Digital Printer

Stampel, digital print Ipad Covers

TEXTILES


Laser cuttingTool/TechnologyMaria Kim

Laser cutting is a technology typically used for cutting and engraving materials from fabric, paper to wood, plastic and metals. The process of laser cutting begins by creating a 2-D CAD file on Adobe Illustrator or AutoCAD. The desired material is then loaded into the machine and the laser is set and focused using different settings. Like Computer Numerical Control (CNC) routing (which is cutting though material using a router and computer aided programming), laser cutting uses CNC with a laser instead which burns through the material. Although laser cutting is not always easily accessible, individuals and small design businesses are fortunate enough to have this tool run by other small businesses such as ACE Corporate Apparel and Melbourne Laser Cutter (run by the Lydra group collective) which ‘is a laser cutting service for creative individuals… designers, small businesses and individuals who want to add a cutting edge to their designs.’ (Lydra Group, 2015) These businesses help Melbourne’s small creative community to share tools and technology for those who cannot or do not intend to produce and manufacture large batches of laser cut goods. Although in some cases small runs may be beneficial for individuals and businesses to use traditional cutting skills using a cutting knife. In contrast to traditional cutting, which require accurate hand cutting skills, laser cutting burns through the material, limiting the materials that may be cut due to releasing harmful and toxic chemicals, catching on fire, or simply not being able to be laser cut. RMIT provides a helpful list of ‘Things you CAN and CAN'T put in the laser cutter.’(RMIT University, 2015) In the ‘can’t’ case, traditional techniques and methods of cutting may be more suitable. Although laser cutting has accurate cutting, tolerances change for different materials and thicknesses – in which pieces may not fit or create undesirable finishes. Depending on the laser cutting machine used and the

size of the desired material, whether it be of very small or large scale – traditional techniques hand cutting the material with a cutting knife may be advantageous in cost and time efficiency as well as accuracy. Laser cutting has evolved over the years into a popular technology used in many areas of the design industry, providing intricate and accurate detail with the help from local businesses in Melbourne. Whilst the traditional technique and skill of hand cutting with accuracy can be seen in some cases as abandoned, it is still as important for the limitations that laser cutting cannot accomplish – aesthetically, functionally, and cost and time wise.

References:

RMIT (2015), Things you CAN and CAN'T put in the laser cutter, https://sites.google.com/a/rmit.edu.au/f-t-workshops/machinery/epilog-laser-cut/things-you-can-and-can-t-put-in-the-laser-cutter [Accessed: 4 August 2015]

Lydra Group (2015). Melbourne laser cutter | Lydra Group. Lydra Group. [Online]. Available at: http://lydra.com.au/portfolio/melbourne-laser-cutter/ [Accessed: 4 August 2015].

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CHAPTER THREE: SPACESPACES

Within the fashion industry spaces can be wide and diverse in nature ranging from physical collaborations to a thriving online presence. This creates opportunities to communicate with different audiences on a global scale. Spaces can be used as base to begin a relationship with their audience. For some, this may be an expressive process or a way to sell directly to the public.

i. Physical SpacesAs a direct selling tool or innovative exploratory processes, physical spaces are intrinsic to the fashion community. Galleries or communal spaces like markets are important places to make connections with other designers and creatives. Home based or studio spaces allow designers to meet with their audience in private to discuss the possibility of made to measure or bespoke pieces. All physical places allow for different outcomes, whether it is a place to sell wears, express

ideas or design for future collections.

ii. Physical/Online SpacesThe creation of online spaces has allowed for globalization within the fashion community. In particular, websites like etsy have opened doors to new consumers that would have previously not been possible. It allows designers to collaborate and comment on other creative work, voicing opinions and adding feedback. Websites can now be found where designers can arrange to work together in small groups or share their spaces, correlating into a new community that may have not previously existed. Social media has become essential for advertising businesses, yet some feel the need to keep their online presence small in order to stay true to the philosophical

core of the brand.

SPACE: Physical


MSFW: Emerging Designer MarketPlaceWillem Jakub

In the notorious MSFW: Hub (or plastic tent in City Square), before it is set up for a week of runways, this central city location comes alive with fresh fashion from emerging designers and live entertainment. This one day mini market is at the beginning of Melbourne’s Fashion Week festivities, held this year on Sunday 30th of August from 10am-5pm. The stallholders are not just clothing based, but the market welcomes jewellery, bags and accessories as well.

The designers have been chosen through an application process that was due by the start of July, and from 60 applicants altogether, 19 have made the cut. These nineteen Melbourne based designers have the opportunity to gain exposure, drive sales, showcase products and strengthen networks in the industry on the day. Designers are required through the application to describe their label, who their customer is, their price point and examples of the current collection. As this is run at no charge to the designers, the most suitable labels are chosen to represent Melbourne and MSFW.

The designers who have been chosen are required to obviously be able to show the ability to design collections and have their items priced up to $150 although some exceptions can be made for statement garments. Although this may not cover the costs for some of the labels, it is a great platform to gain industry exposure, and to learn how

Each designer is allocated a 2metre by 2metre space, which they can choose how to setup or decorate to best suit their needs and aesthetic. On the day no change rooms are arranged for the market and so designers don’t expect to

this will urge customers to research their online websites or

return to other stockists to purchase something they can be sure about.

Although most emerging Melbourne labels would most likely be handmade or produced locally due to their still small business, MSFW does not discriminate. They also

are a seemingly larger label as long as their practice is between 1-4 years of existence.

For enquires about the Expression of Interest application process, contact the team at [email protected]

References:

Andre Vidal 2015, pers. comm. 30 July 2015 (One of the emerging designers chosen)

Melbourne.vic.gov.au, (2015). MSFW: Emerging Designer Market - City of Melbourne. [online]

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SPACE: Physical


Craft VictoriaRetail/Exhibition SpaceMaria Kim

Craft Victoria is a Melbourne based non-profit organisation, established in 1970, supported by the City of Melbourne. Located on Flinders Lane in a downstairs retail and gallery space with opportunity for window exhibitions, Craft focuses on craft and design items that can be sold and exhibited. Work is carefully selected from various Victorian leading artisans and designers and the freshest new talent for exhibition or placed in their retail space. These works and products range from ceramics, glass, paper, wood, textiles and jewellery and even selling commissions and corporate gifts. These works strictly must be made in Australia. Crafts mission is to ‘bring together a vibrant and sustainable contemporary craft and design community in Victoria and nationally, which represents, promotes and celebrates all craft practitioners.’ (Craft, 2012) helping promote not only the well-known artisans and designers but also the emerging talents, in order to push them forward and gain recognition more easily from the public. Craft also has memberships that are highly recommended for those interested in being apart of Craft Victoria, keeping them connected to the craft and design community and involved in events. As members, you are able to submit your work and go through the selection process to be chosen for exhibition or to be sold in the retail space. Because Craft focuses on promoting Victoria’s talents, they focus on using different platforms on how to reach out to the public. “handles a monthly, curated art and craft market at the Queen Victoria Market, workshops, exhibitions and a number of other activities and resources.” (Broadsheet, 2015) These platforms range from their online stores, workshops, Vimeo, market stalls and festivals such as:- Craft TV allows online users to view a variety of interviews with artists and makers, documentaries and films which can be found on the Craft Victoria website and their Vimeo channel. This can help promote those

selling and exhibiting at Craft Victoria around Australia and worldwide. - Craft Victoria is involved in different markets such as the Queen Victoria market and 1000 Pound Bend. - Craft Cubed is a festival supported by the City of Melbourne that include talks by small scale businesses and art practitioners about careers and business as well as their experiences, perspectives and working methodologies.

Craft Victoria continues to provide opportunity and exposure for local designers and artisans through a variety of platforms to help keep local production in business.

References:

Craft 2012, Craft Victoria Annual Report 2012 Available at:http://www.craft.org.au/wp-content/uploads/2012/11/2012-Craft-Annual-Report.pdf [Accessed: 28 July 2015]

Broadsheet (2015), Craft Victoria [Online], Available at: http://www.broadsheet.com.au/melbourne/fashion/directory/shop/craft-victoria [Accessed 27 July 2015]

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SPACE: Physical


Design a SpaceSpaceFallon Bobenko

Within the fashion industry, there are so many large-scale brands that dominate across the board making it very difficult for upcoming independent designers to break through into the market. This is where Design A Space comes into things. Bec Lutz experienced this first hand with her own independent label. It was found to be very difficult to sell due to buyer inconsistency and buyers being less likely to take risks with her limited edition one off pieces, her more commercial styles were the only pieces selling effectively. This is how Design A Space came about; an outlet for upcoming Australian designers to showcase their most outstanding concepts in an artistic environment for an alternative shopping experience founded since 2006 by Bec and her partner Chris Lutz. In order to maintain a fresh and ever-changing environment for customers, designers are rotated monthly; with only three locations (Chapel St, Melbourne CBD and Fitzroy) this is essential for expressing as many designers as physically possible. In connection with this, for versatility they offer a mix of women’s, men’s and children’s wear along side accessories to offset these already intriguing pieces. Basically the set up works like this; an individual will rent a space (or platform, rather) and this allows them the ability to showcase their entire range no matter how small or large this may be, pricing is then adjusted depending on space usage. The pieces offered in Design A Space truly are unique to themselves, especially as they are crafted slowly and precisely unlike our readily available fast fashion of today. Hype is then created about this space and its pieces, as customers may never see these design ever reproduced, however, each visit guarantees the store will provide something new and fresh. In order to be selected for Design A Space, you must have been established for at least a few years in which would have allowed time for refinement and exploratory design progression.

Some designers also only choose to showcase particular items that are only available in this space, helping this space become a real specialty store. Another benefit of stocking with Design A Space is that designers may chose exact appropriate retail prices which they may have altered if being sold elsewhere. Design A Space are determined to off the most alternative and effective space to showcase Australian Independent Fashion to Australia in our fashion capital, Melbourne.

References:

Design a Space. 2014. About. [ONLINE] Available at: http://www.designaspace.com.au/about. [

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SPACE: Physical


Made in MelbourneTechniqueErinn Ferry

Handmade is a wonderfully descriptive term. It evokes a sense of total creativity, the capacity to turn common ingredients or materials into something of purpose, and often of great beauty. (Handmade in Melbourne) Melbourne is a wonderful city for the creative community that Australia has to offer. There is a recent boom towards the handmade and craft based designers, especially since the recent economic crisis. Consumers are becoming more aware of the repercussions of consumerism and the throw away attitude that has become the norm. A result of this is that consumers are becoming more appreciative of quality handmade items that are made with care, rather than fast paced consumerism driven products.Melbourne designers are leaders in this field, with new independent locally made labels springing up each year, trying to find their place within the competitive fashion and design market that Melbourne has to offer.One company that is helping emerging designers to realise their dreams is Made in Melbourne.

Made In Melbourne aims at providing a platform for creative young Melbourne talent, with a fashion focus on designers, who create, source and manufacture their collections locally.The Made In Melbourne fashion event strives to harness the unique style of the city through the promotion of its’ flourishing fashion industry. The inaugural runway show established its success during the 2009 Melbourne Spring Fashion Week, with support from Melbourne based businesses – including FashionTrend, The Academy of Make Up and the Council of Textile & Fashion Industries of Australia (TFIA) The labels featured were Mina & Katusha, Caro, Lisa Taranto and Thoxa accessories.(Made in Melbourne)

There are many platforms that cater for emerging and established designers to promote their work. Some of these include: The Design Files, Melbourne Made, Made in Melbourne, Craft Victoria, Designer Space and Broadsheet, as well as fashion weeks and runways.

References:http://madeinmelbournefashion.com.au/aboutus/http://www.handmadeinmelbourne.com.au/

Vintage rycycle fashion<www.urbanwalkabout.com>

MILCH Upcycles Trousers, Shirts into Menswear-Inspired Eco-Fashion<http://www.ecouterre.com/milch-upcycles-trousers-shirts-into-menswear-inspired-eco-fashion/>

SPACE: Physical

Milly SleepingSpace

Felicity Mawson

Fashion design studio 6 - Microtelier Mapping fashion design micropractice

SPACE: Virtual/Online


EtsySpaceRenee Andrew

Etsy is the name we all know now by popularity is the global online marketplace where craftspeople and artisans from literally every country on the planet buy and sell their vintage and handcrafts. Founded by Rob Kalin in 2005, the business took off quickly for the then 20 year old Brooklyn craftsman. In a radio interview with NPR US, Kalin explains that “I was a woodworker and made furniture in a series I liked to call 2-by-furniture, where all of my work was made with 2-by-4’s. After I had been trying to sell all my stuff, it was frustrating.” Etsy was created in a small Brooklyn apartment to fill the need for an online community where crafters, artists and makers could sell their handmade and vintage goods and craft supplies In the beginning, Kalin and two other friends designed and wrote the code for the blooming website and got Etsy up and running. In 2011 Chad Dickerson was appointed CEO after working with the small team in order to help expand the business. Within 10 years Etsy has become one of the best online tools for people practising craft, to sell their wares for a little on the side, or a fulltime job. According to academic paper ‘Redefining Entrepreneurship: Etsy’s sellers economic impact’ 97% of etsy sellers run their business from home and 83% run their businesses without help. 61% also want their shops to remain “a size I can manage myself.”

A stand out statistic from A 2011 Career Advisory Board study found that “millennial workers ranked “meaningful work” over “high pay,” While some see their Etsy shops as a source of income or a business opportunity, many sellers are equally – if not more – motivated by creativity, flexibility and fun.”

Madeline Stevens, owner of Etsy Shop ‘The Virgin Rose’ sells mexican inspired artworks and gives a little insight as

to what it’s like owning an Etsy store. “I may be from New Zealand orginally, but the beauty of Etsy is that my business can go wherever I go. I was living in Mexico when I first started using Etsy, as finding a job was hard to come by. After, I moved to Florida with my partner and with all that was going on, I was still able to keep my small business peddling along. I really do this for my own reasons, I love having the ability to create things that people want and people like, I’m at the point now that I am being requested for customised Nicho’s and paintings from regular customers.”Etsy now has 717 employees, 32M items for sale, 1.4M sellers, and 20.8M buyers.

References:

Etsy, E, 2013. Etsy Seller's Economic Impact. Redefining Entrepreneurship:Etsy Seller's Economic Impact, [Online]. 1, 13. Available at:http://extfiles.etsy.com/Press/reports/Etsy_RedefiningEntrepreneurshipReport_2013.pdf Podcast NPR 2015, From Scratch. Rob Kalin Founder of Etsy. 15 June 15, http://www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=414682318&m=414682434. 04 August 15.

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The Design FilesOnline SpaceJosh Chih-Lin Nien

Founded in 2008, The Design Files features Australian design practitioners of all forms: architecture, food, fine art, fashion and everything visual and inspiring. The website has become an icon among creatives, and recognised internaitonally for bringing local creative professionals to surface. The editor Lucy Feagins started the website as a blog for her work as a stylist in the film and interior industry.

Currently having over 180,000 readers per month, The Design Files is as influential as a web space can be. Interestingly, the website does not accept any paid submission for a mention; that is, they will only post original creatives/homes/businesses they love!The main income comes from the advertisers The Design FIles team works closely with, as the content, palcement and effect are all essential for the space to maintain a certain asthetic and quality.

Every single day for six years, Lucy upload a project on the website. It is a place whose authentic content people can rely on. As the number of audiences and creatives involved grew, The Design Files has revolutionised the way people engage and become a point of reference across all genres including interior designs, trend setting and craft movement.In 2014 Lucy rented a warehouse space in Collingwood as a showroom for independent designers, maker and artists.Every year The Design Files runs a project named ‘The Design Files Open House’. The event features an open house with designer furnitures, artworks and everything a house needs - for people to buy! The spectacular event only runs for 4 days and while it’s short, it draws a large number of audiences and helps artists gian immense exposure.

In term of the future of The Design Files, Lucy contunues to push the site forward by boardening the subjects and present projects on different media such as filma; and most importantly - not lose its core value - originality.

References:

Abay, G. (2013). Five minutes with Lucy Feagins from The Design Files. [online] Vogue.com.au. Available at: http://www.vogue.com.au/culture/lifestyle/five+minutes+with+lucy+feagins+from+the+design+files,28331 [Accessed 10 Aug. 2015].Baker, V. (2012). Open house with The Design Files’ Lucy Feagins. [online] Temple & Webster blog. Available at: http://blog.templeandwebster.com.au/lucy-feagins-my-week-in-pictures/ [Accessed 10 Aug. 2015].

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