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Celebrating Fashion and Design in All Forms
The School of Fashion and Textiles is world-renowned as a dynamic and progressive educational leader whose impact influences the future of fashion and textiles. Informed by global awareness, astute knowledge of industry, and a commitment to responsible practice, the School leads in creative and entrepreneurial domains. Staff are engaged as both practitioners and researchers and are active as fashion and textile designers, curators, technology drivers, business innovators and industry leaders. Their expertise and active engagement with all levels of the industry allow students to stay up-to-date with current sector needs throughout their studies, meaning that graduates are highly sought after by industry and can find positions in all areas of the global fashion and textiles value chain. Students make their mark through sustainable and independent design practices and contribute significantly to management and business operations through strategic fashion entrepreneurship.
The School of Fashion and Textiles continues developing new program delivery environments. The main campus at Brunswick houses ‘state of the art’ facilities, including design studios, enterprise hubs, advanced manufacturing and bespoke making spaces. While the city campus has an integrated design, making, thinking workshop space for the 4th year of the Bachelor of Fashion (Design) (Honours), and Bachelor of Textiles (Design) (Honours), as well as Masters of Fashion (Design) and creative practice HDR candidates.
Student Name: Laura Heron
Capsule collection title: GAME,PIECE
Concept collection: I was inspired by the tension between vulnerability and protection. The collection presents manipulated outerwear archetypes that cultivate a wardrobe for a character seeking enclothed armour. The collection finds strength in the durability of men’s outerwear pieces, wool fabrications, and workwear signifiers. The London Fog trench coat operates as a blueprint for the body of work, informing the line as well as the motif of epaulettes and double-breasted closures. This archetype is reversed and re-cut to fit a women’s figure when worn back to front, serving as a shield from unwanted eyes. The collection aims to capture a parallel between the fast and slow, a sense of speed is captured by the connotations of the motorcycle jacket and high visibility pinstripe treatments whereas the floral motif represents the slowness of unfurling flowers and painting. The practice of taxidermy and 16th century Dutch still life perform as a secondary blueprint. Early testing for the collection involved the unfurling of readymade garments before they were mounted to a stay or left to exist and drape independently. This method of collecting, splaying, and mounting speaks to the idea of hunting clothes as a metaphor for the insatiable appetite with which garments are collected. The implication of wear is frozen when the unfurled sections of clothing are draped and fixed into new positions, much like how still life pauses perishable subjects in time.
Student Name: Kane Turner
Capsule collection title: damp shirt, salt boy
Concept collection: My stiletto blunted as I hobbled and scuffed down the muddied causeway. Blan-keted by dripping hedges, I lowered myself into the glossy tank. The seat belt stubbornly snagged the braiding of my tailcoat; shifting, the porcelain figurine
splintered. Over my shoulder, I smirked, the sharp gloss remnants now captive. Still idle, I flung my hair caught in the collar, and with a slap, it sopped over the garment’s twill. Water snaked down the front of the coat, soaking through to the shirt underneath. As the water on my shirt grew, I sank.
