White Goods explores the materiality and hierarchy of white through the methods of eight interdisciplinary makers, ranging from ceramics, glass to illumination and phosphorescence. The majority of the work on show has been created by Victorians interpreting Curator Debbie Pryor’s brief of the colour white, showcasing the transparency and processes of each maker. There is deep thought and research put into each work, that each maker communicates in an accessible way through mastery of their craft.

We sat down with the Curator of White Goods, Debbie Pryor, to discuss the show and the thought put behind it.

Why is Craft Victoria a part of Virgin Australia Melbourne Fashion Festival this year?

Debbie: Craft has an ongoing relationship with VAMFF and we make sure to have content that relates to the festival every year, whether abstract or literal. In 2014, we had Matthew Linde’s A Vouge Idea in the gallery, however with changes to the exhibition process, we chose to have a group exhibition.

White Goods as a whole relates to the world of fashion by way of tactility and wearability. We showcase Eddy Carroll who has used textile techniques to create her eye catching artwork, which demonstrates the malleable ideas of fashion and textile. Katie Jane Britchford, Linda Hughes and Manon van Kouswijk are our three jewellers, who have all produced wearable objects for the show.

Craft also finds it important to be a part of VAMFF to broaden the conversation of the hierarchy and currency of materials. With Manon’s work, the audience is lured into the normality of the display, however what first looks like a precious object is actually a completely different material. This leads to the question “why do people want to wear the objects”? Perhaps, it is the glamour of these pieces, which can offset a simple outfit and can mix expectations of what is fashion.

 What factors have you considered when curating White Goods?

The show has a Victorian focus and consist of makers who all live in Victoria, except Honor Freeman who is from South Australia. Because of the changes in how exhibitions are organised at Craft Victoria, we wanted to show artists who would never be shown together unless they were Craft Victoria members. For example, we wanted to bring together established and emerging artists, so we asked the very established Owen Rye to be a part of the show, along with Honor Freeman, one of Australia’s foremost emerging ceramicists. We also wanted to change the expectations of those visiting us because of VAMFF. From Ebony Addinsall’s glasswork to Kris Coad’s illuminated bone china work, we hoped to expand the breath and width of the types of artwork on show for the audience that would be coming. In the end, I gave them a broad brief solely about the colour white and it was up to the artist to demonstrate their artistry when juxtaposed in a cross discipline showcase.

For more information about the show, click here.

Images provided by Craft Victoria.

Using a series of linking non-sequiturs, Director Tim White has been able to both express a clear aesthetic and show off the AW15 range of Kuwaii. White has created a dream like reality through use of a vividly nonsensical colour palette and an eclectic soundtrack to match. Through the whole disjoined collection of scenes, White has been able to explore his “representation of how the human mind assembles memory”. Part Lynchian and part déjà vu, he has accentuated the beauty in Kuwaii’s collection as well as play with the audience’s expectations of a fashion film.

From wooden floorboards creaking to the actress’ sighs and the flapping of a fish’s fin, the soundscape of Palladian adds to its experience, allowing it to flourish and grow, albeit for two minutes and fifty seconds. Meanwhile, Liam Barton’s soundtrack is whimsical on the surface, but along with the narrative, it has a streak of mischievousness which populates the entire film.

Its narrative is cryptic but has a touch-and-go theme of eating experiences, from the recognisable scene of placing silverwear down for dining to when it is demonstrated best when Beth wears the Glazed Sweater and recollects her friend’s experience of eating an oyster. Kuwaii’s collection shown in the film is gorgeous, elegant, and has a vein of youth and innocence throughout. Shades of slate grey, ocean blue, and berry red are oft used as juxapostion and parallels to the clothes, which are dominated by the colours as well.

It would be an insult to say that White and Kuwaii have just created an eclectic fashion film. Through the thoughtful use of colour, sound, and non-sequiturs, Palladian has been able to put forth a new perspective for the genre. By doing so they have been able to achieve a top three win at VAMFF 2015 and a permanent place in this writer’s mind.

Palladian is screened as part of the VAMFF 2015 Cultural Program.  For more information on the Fashion Film Series screenings, click here.

Photo Credit: Palladian on RUSSH TV

The designers all have a running thread through all the fashion. The influence of the coast and nostalgia are recognisable. Although they are have their own styles, there are instances of familiar techniques shared, for example the use of Manchurian collars and turtlenecks range between several of the designers. There is also a shared emphasis on androgyny, comfort, oversize, and the colour white. The choice of models also provided an interesting juxtaposition for the fashion-forward designs they wore.

As the audience sat down and lined the perimeter, the first model came up the stairs and started his walk. He wore a grey wig and walked naturally through the studio. The rest followed his path and Chris Ran Lin’s collection was showcased to us. From clean, straight lines to oversized cable knits, his work from the detail and out seemed to be influenced by the ideals of the romanticised fisherman and militant retro futurism. His showing was a good mix of conceptual and ready-to-wear pieces.

When the drum and bass faded out, Anthea Papamanos’ soundtrack started. An overbearing influence of Mediterranean comfort clothing and Australiana is evident in Papamanos’ collection. Her use of the idyllic coast lifestyle also comes out with grey and blue dominating the hues of the clothing, as well as the strong use of white and other clinical colours. From oversized polo shirts to sweaters to track suits, and what looked to be very comfortable sleepwear, there was a very strong flow of her ideas and design elements on show.

Elin Eriksen’s collection followed, emphasising comfort with high waists and loose fits. Making subtle use of block colour and plastic textiles, Eriksen’s collection was a glimpse back to the 1980s, with boat shorts and two tone making a strong impression on her collection. The showing ends with ready-to-wear pieces that include a kimono throw-on, an oversize two-tone black coat, and a pink jacket.

With Karima Sulaiman’s collection, the playful use of digital print textiles in her collection was immediately apparent, featuring motifs of cats and stars. Again, comfort was paramount. Ties were utilised as fasteners in place of zips, and there were more loose fits and turtlenecks throughout. Experimentation with proportion and opacity provided an intriguing level of dynamism to this collection. The flow of this showing was pleasant which mirrored the collection’s relaxed look.

The final collection of MAN I was that of Alexandra Peters, a truly experimental one at that, with one of the pieces displaying the statement ‘The new men’s dress reform party’. Strikingly, Peters made use of feminine shapes and layering to create an unexpected visual effect. The use of 1970s floral motifs and applique was particularly fascinating when contrasted with the graffiti patches and imagery affixed on some of the pieces. The juxtaposition of heavy with light, striking hues with flat browns gave the collection additional gravitas.

Image source: vamff.com.au

‘The Violet Hour’

The collection leads with film director and animator Katerina Athanasopoulou’s The Violet Hour which explores the physical change of Europe and Edwardian culture through World War I. The focus of the film is a violet silk tea gown stored at Brighton Museum, a garment which is almost unrecognisable in modern day fashion. It was highly important for the aristocracy, both as an outfit used for the formal process of tea and as a precursor to the modern wardrobe, as it did away with the binding of the corset for the comfort of the lady. WWI is in plain view through an animation laid upon the tea gown and the imagery of war expressed in the late baroque painting, digitally manipulated to express the shattering effect of WWI on Europe.

‘Il Vestito Antineutrale’

The next film in the series explores the Futurist elements of fashion, through questions and statements made by Judith Clark, in regards to the Futurist Manifesto that was written when Italy had entered WWI in September 1914. Many of these statements tie the commonality of Futurism and the very nature of fashion, such as “The moment fashion is exhibited, it is fixed”. This is a work where the curator herself is wearing a TuTa by Vetra in 2011, inspired by Thayaht’s work in 1919, as well as showcasing work from Prada, amongst others. The Futurist Manifesto itself is touched upon as well, being evaluated for its aggressiveness and its influence in the world of fashion.

‘Crossed Crocodiles Growl’

Using CGI to multiply a single model to appear to be a whole military tattoo, Walter Van Beirendonck and Bart Hess have been able to emulate the authority that a militant formation expresses. Through the use of power in numbers, the film is able to display aesthetics that range from bold and powerful to silly and garish. Using an eclectic 8-bit soundtrack with field recordings and samples also aids the audience to be absorbed into the film. The focus of the film stems from the struggle of racism, the Stahlhelm and other militant dress. The juxtaposition of the headgear with bold colours and English-influenced design makes the film a viewing to remember.

‘Incunabula’

The film articulates the anatomy of failure through a 3D printed dress, as well as the aesthetics of beauty and fashion in a post-war world. The dress is discussed by the wearer and model directly to the audience. She talks about the dichotomy of the materials and façade of the dress, in comparison to how it is closer to a piece of art than a ready-to-wear garment. The nature of the dress is also brought up, though it looks delicate like the Irish lace it imitates, it is an aggressive garment that hurts the model. Though it looks light and free, it is restrictive, even to the point of changing the model’s mood and attitude. The nature of the dress is put into question when juxtaposed with a body suit that the model freely dances in. Perhaps it calls into question the nature of fashion since 1914, suggesting there can only be freedom through destruction. Even if a garment is beautiful, it may actually be manipulating the wearer to conform to archaic ideas. It is a brilliant end to the series of four short films, leaving the audience with questions about the nature of fashion over the past century.

For more information about the show, click here.

Image source: showstudio.com