SZN is popping up again at the CTF Curated pop-up in St Collins Lane! SZN's SS18 collection (and a few custom goodies) will be available for sale 7 - 20 September.
Our Spring Summer 2018 collection has arrived! A mini capsule collection that features zero-waste modular design in 100% Linen fabric.
These garments are wholly made in Melbourne, and are a refinement of the award winning 150 collection that considers a broad size range through adjustable waist bands and a geometric loose fit in a minimal silhouette that layers well for transeasonal wear.
Use discount code: SS18 and get 10% off all online purchases (available till 1 September 2017).
This Saturday 5 August 1pm to 5pm, you have a chance to meet SZN designer Suzan Dlouhy at Dispensary 219 at the Preston Zly Studios! You'll be the first to get a chance to try on the collection, get styling tips (as if you even need them) and we'll be on hand to take orders for SS18.
SZN is privilege to be joining the other brilliant designers: Preston Zly Design, Andrea Nicholson Designs, Robyn Black, Amano By Lorena Laing and Jenny Anderson.
What: Meet the Designer
When: 1-5pm Saturday 5 August 2017
Where: Dispensary 219, rear 219 Smith St Collingwood
Dispensary 219 is a maker-driven studio retail space showcasing independent, local fashion design. The space invites lovers of small-run and one-off Melbourne fashion to discover unique and beautifully crafted pieces and directly support the designers and makers who create them.
SZN is popping up at CTF Curated in St Collins Lane for just 3 days! Come along from 16-18 June to see a sneak peek of new stock, exclusive short run pieces and a second chance to get the 150 Overalls - which sell out every time we restock!
To celebrate our first POP-UP in Melbourne, SZN is having a VIP night 6-9 pm this Friday 16 June, guests get 20% of all in-store stock and complimentary Four Pillars Gin.
See you there xox
260 Collins Street
Melbourne, VIC 3000
St. Collins Lane is conveniently located in the heart of the CBD with entrances from Collins and Little Collins Streets and can be easily accessed by trams and trains.
SZN joins Curated!
CTF Curated | Melbourne - Australia’s Emerging Fashion Labels
Council of Textile & Fashion (CTF) Curated is a wide-scale Australian fashion incubator that is cultivating a sense of community that has been lacking in our industry, one that values design, collaboration and ideas sharing.
The program includes four pop-up retail events each year, connecting these labels and the people behind them to consumers.
As a key part of the Australian fashion ecosystem, the success of these labels stands to have a broader impact across the local value chain. Uniting various stakeholders from the labels themselves through to manufacturers, fashion festivals and tech start-ups.
The CTF continue to grow Curated Melbourne in May and June, this time at two of Melbourne CBD’s prime retail locations, the Emporium and St. Collins Lane .
Head to either location from the dates below and shop some of Australia’s most exciting emerging labels.
Emporium | Level 2, Shop 218 | From Monday 15 May with different labels each week.
St. Collins Lane | Ground Floor | From Monday 22 May with different labels each week plus a series of daytime and evening workshops.
Support local. Meet the people behind the labels. Connect to the skill and care in each the garment.
A.BCH | CITIZEN WOLF | COLLECTIVE CLOSETS | ELVIE & LEO | ERIK-YVON | HARLOW | HEW | LOIS HAZEL | LOTT STUDIO | MAUDE STUDIO | MNDATORY | MR WILLO | NICO | POST SOLE STUDIO | REMUSE DESIGNS | SCOTT BENEDICTINE | SIYONA | SZN | VINCENT LI
SZN's designer Suzan Dlouhy gets interviewed by Nkechi from The Pin, a discussion platform about race, identity and culture.
Read the full interview here!
The pressure of being the first in our families to have opportunities for further education can some times stump out our true desires and creative lifelong pursuits of happiness.
For Suzan Dlouhy creativity, design and fashion have always been a part of who she is but, it took a boring government job, crazy dress up Monday's and hunting down amazing street style in Canberra for her true passion to be realised.
Starting her own label SZN, Dlouhy has continued to make her mark in design - from hand stitching 100 scarves for the National Multicultural Festival in Canberra to taking out Fashion Designer of the Year at the African Australians of the Year Award Ceremony. Before moving to Melbourne for love, teaching at The Social Studio and continuing to build her own brand.
MEET SUZAN DLOUHY
THE PIN. So you grew up in Brisbane?
SUZAN DLOUHY. I grew up in Kingston, which is in Logan City half way between Brisbane and the Gold Coast, and I love it because it is a very culturally diverse area, due to it seeming to be the first port of call for immigrants, I imagine that's how my family ended up there, pretty much any conflict overseas is followed by an increase in Logan of that particular culture.
For a lot of people we have spoken about the feeling that within the boundaries of their household was a different culture to the outside world. Did you have a similar thing?
S. The first time I watched The Wog Boy movie I felt like I identified with that kid with his salami cheese sandwiches. I was going to school with these salami, cottage cheese, rye bread sandwiches, and I’d be embarrassed - I was like, ‘everyone’s got white bread with cheese’, my dad was like, ‘we will not eat that crap!’, and I’d be like, ‘this is crap!’ Now it’s ironic because today people are paying $20 for these sandwiches at a café now. But at the time, I remember begging my dad for white bread, I was like, ‘could you just….buy…like half a loaf! They sell half loafs, and just like six slices of cheese’. So I’d go to my friend’s house and just love what they ate. It was so weird you know, white bread and cheese for me is the epitome for me of what we didn’t have.
My dad is, not formal, but we all had to sit at a dining table for dinner, using a fork and knife from this old cutlery set he had from when he migrated, I think it was very special for him. We’d be like, ‘we should sit in front of the tv, dad!’ and he was like, ‘no, we will not do like the Americans with their pre-recorded laughter, I will laugh when I want to laugh and not during dinner’. I was like, oh my god [laughs]. Just some of the funny shit he says. I’d get to school, and I’d never repeat that to friends at school because it just made me seem more different so I’d be like, ‘yeah sure, I watched home and away’…I didn’t watch that show at all, I don’t know what happened…just trying to keep up, trying to be cool…it never happened.
I read in an interview that you found your way into fashion as a way out of the boredom you had towards your job so, I was wondering if design and fashion were always apart of your life?
S. My Czech grandmother was a seamstress and she taught me how to sew when I was five by hand, I could sew things. All through primary school and high school I wanted to be a fashion designer, that was a given. Everyone knew I wanted to be a fashion designer. My dad taught me to sew on the same machine I have now, when I was in grade five. Then by grade 11, and for some stupid reason, I decided I wanted to study anthropology. I don’t know what happened, I think the culture thing hit me, or the idea of being different hit me and I wanted to investigate that. At the time thought I was going to save the world, from an environment perspective, you know – we’re going to be sustainable and green!
I remember my teacher being like, ‘ah, you’re good at art why don’t you do that’, and kind of rebelled against it, even though all along I told people that I wanted to grow up and be a fashion designer.
My dad said artists die poor, so I was like I don’t want to die [laughs] let alone be poor. So when I did uni selections I put environmental policy first, because it had the lowest entrance scores …I didn’t have high expectations for myself….for the thing that was closest to anthropology. Random. So that course I did was more like an anthropology degree and less like an environmental specific degree. For my second, third and fourth choices I put anthropology and sociology degrees and fifth – I put fashion. I was hoping I wouldn’t get in. I kept going ‘I don’t want to get in, I don’t want to get in!’. That fifth choice was a TAFE because back then, in Brisbane, there wasn’t a uni version of fashion design. I guess this whole time my dad thought it was a good choice, because he was like, ‘well you have a chance to go to get a degree, why would you go to a TAFE? Anyone could go to a TAFE, you could go to a TAFE now if you want’ this was in grade 11. For him, TAFE was short courses you did at night – not courses you did for life. So I got my first choice, and I went. I am very interested in the environment, I was, but the whole time I was at university I would spend all of my time sewing, painting, drawing, I’m blowing cash on watercolours like you wouldn’t believe. I don’t know why, everything I did was art related and I persevered through that degree. I failed a whole year, like 7 out of 8 subjects in one year….kept going…because I finish what I start. I made my dad so bloody proud, he was almost crying at the graduation. He didn’t go to university so he really wanted that for me.
When did you realise taking this path down that path wasn’t for you?
S. I kind of skirted around it by doing all these other creative things, everything but the thing I should have done!
It was a building up over four years of hating working in a government organisation there were two things that I particularly hate – one I hate air con so much, and I hate environments where I can’t choose music. It’s always quiet at work, and freezing. Also, everyone in my team was around fifty or sixty and they were all on the verge of retiring, and I was like, ‘I can’t do this for another forty or fifty years!’.
There was another guy working in my corral that felt the same way about our work environment and also had an interest in dressing well and so we started dressing for each other. It was the only thing that brought any excitement to going to work. I’d say, ‘oh Thomas, what are you wearing tomorrow? He’d be like, ‘my paisley tie, checkered shirt and some particular pair of pants’, then I’d tell him what I was wearing, and we’d waste hours doing this sort of shit. That happened for about a year, we’d have fantastic Mondays, we’d dress for each other on Mondays, go to the park and do a photoshoot and we’d hang out. It was getting crazy [laughs].
I started a street style blog in Canberra as my excuse to get out of the building. Everyone else would go on smoko or to get a coffee, and I’d take my camera and doing street style shoots during the workday and then uploading it at work. I was doing all of this at my desk, all the while keeping my job. I still didn’t make the leap that I should just do fashion.
Then one day I was at work on the fantastic Monday and we decided to dress as the bins, because we decided we were no more useful than the bins. We both dressed and posed with these bins. I think we had a collective mental breakdown [laughs]. The two of us got to this stage that was not normal. The thing that kicked it over, was the guy sitting next to me got promoted to the position that I probably should have been in, purely because he wasn’t part time. At that time I was studying part-time and they thought my interests weren’t there. That guy was watching The Simpsons on his computer, but because he was really good at talking the talk and being blokey he got promoted. I thought, this place isn’t for me – I can’t play that game. This cleaner came through, and as he left, he went around the corner, that guy took the piss out of him. And that was it – that broke me.
I would have rather of cleaned that building than worked in it for guys like him. That was it for me. After that I called up the TAFE and asked about courses, they were having an audition for their fashion course the next day. And that was it. It decided my fate.
When it comes to creating and designing, is there something that you are able to express through design that you find you can’t express in anything else you do?
I tend to explain stuff very complicatedly, and at length but my clothing is so ridiculously simple, and presents very minimal but, there is actually a complexity behind it that makes it seem simple, a very complex idea. After the months and months that it takes me to arrive at that design, and put it out on the shelf, it looks like a square. When I’m advertising or talking, I say I am a minimal designer – but there is nothing minimal about the process that goes on there.
My clothing presents a simple logic, that I cannot communicate in any other art form. I couldn’t do it in music, talking, or writing. I’m too all over the place.
How did your involvement with the social studio begin, and how have you found that experience?
S. My first day in Melbourne, I decided to go on a shopping tour of Melbourne – I knew I had to look for a job but told myself to take time and enjoy it. I went on a little day trip, visiting all these different places and I walked into The Social Studio. It was in transition and there was a sewing machine in the doorway. Andrea, who is the general manager, said to me as I walked in, ‘do you want a sewing machine?’ and I was like, ‘woah, this thing!’ I didn’t understand, and I was like, ‘I do, I really do! but first I need a house and a job, because I can see it needs to be serviced and I need a place to put it’. Andrea said there was a lady down the road looking for a sales assistant who could sew and there was a place going for rent above it. I thought she was joking. We got chatting a bit more and she was so sweet. I left there feeling like I’d found my place. I went down the road, within fifteen minutes, went into the shop and the lady had just sent that email about half an hour ago – the email to Andrea. We talked about my experience and clothing and she said I was exactly what she needed. It was ridiculous. So I went back said a big thank you to Andrea and I worked there for three – four days a week. I never took that sewing machine, it was too bloody heavy [laughs].
Six months later, Andrea replied to my email and said she vaguely remembered me saying that I did a fashion design course. She asked if I wanted to teach.
I love the Social Studio. It has its ups and downs. As anything does. It comes with a lot of cultural things that I’ve had to face. My students are often older than me and they’re parents, so I feel like I’m their kid in twenty years. Often the problems they are dealing with, and the crap they have to integrate into their lives, just random requirements that you have as a person, that is harder when you don’t even speak the language – even if you speak the freaking language, it’s hard to integrate that stuff into your life. So I feel like I see myself as their daughter almost, and I know it’s hard for them but it’s worth it and their kids will be thankful…hopefully [laughs]. My parents did the same, and I appreciated it. The Social Studio, at least, gives me that reflection on my past in a difficult setting. Often you can’t do something for everyone, and the jobs these guys are going for are the same ones I’m in, so I tell them what I did and how I hustled. I tell them about how I walked in and chatted – I point out their strengths and give them honest feedback. The Social Studio has been a big learning curve in being helpful but being chill.
Growing up, was there a time where race and identity really stood out to you? Was it something that was always there and recognised?
S. When I was young I think I just went under the radar. I think when you stand out as a person, everything stands out about you.
I’ve always found it really interesting when people talk about Australia being racist. I actually do agree, but the ones being racist find it hard to recognise because it’s done in this joking way, they don’t mean it badly, so they don’t see how it’s hurtful. I remember when I was really young, a girl walked past with her mum and she said something like, ‘Coco Pops’, and it’s the only time in my life where I had a quick reply and I said, ‘Rice Bubbles’. I remember saying Rice Bubbles, I was little – maybe five – and I remember thinking, ‘yeah, I got back at her’. But also thinking, why did she say that? Coco Pops are yummier anyway. My dad made me believe that Coco Pops were two colours and he would premix the Coco Pops with the Rice Bubbles to give it a lower sugar content. So in my life Coco Pops were brown and white anyway. So her insult never made sense, because I was like, but there are two colours! [laughs].
THE PIN. If you could give yourself one piece of advice about being in the skin you’re in, what would it be?
SUZAN DLOUHY. When I went overseas for the first time, I was 17, and my dad always did this when I was younger. He never told me not to do something, but he phrased it in such a way that made me not do it, or do the right thing. He’d say, ‘keep your eyes open’. When I went on this trip it was the best advice.
So I think I’d tell myself, have confidence and trust in yourself.
This interview has been condensed and edited
Suzan Dlouhy, founder of five-year-old Melbourne label SZN, is also trying to create clothes “I would personally want to wear as a … uniform”. A former public servant who studied environmental management and policy before coming to fashion, Dlouhy’s collections are even smaller than 10 pieces – usually she’ll show between four and eight. She works with a single maker, and still creates one-off garments on a personal sewing machine. Scarcity is a central theme.
Each collection explores a different method of waste-reduction, from remaking second-hand clothes to using scraps left over by other fashion brands. Lately, she’s been working with organic cotton, trying to create patterns that use textiles as efficiently as possible. She’s “driven by process, not an aesthetic … I try and do everything to reduce it to its most simple form.” Yet the end point fits comfortably within the same dark aesthetic. “Often [my process] leaves you with a big voluminous shape. Sometimes … I’ve been so simplistic or minimal.” She talks about cutting things down, simplifying patterns. “I’ll realise, ‘Is that not … a pair of light drop-crotch pants just like ancient Indian garb? Did I just design myself back into a traditional garment?’ ”
As for her uniform, she avoids anything that clings to the underarms, “so I could wear it multiple times before I wash it”. She gravitates to “things that were black, so they didn’t look … dirty immediately”. For Dlouhy, reducing “laundry is a big factor in sustainability”.
In her runway shows, Dlouhy casts models “based on who they are” not their gender. With a background in one-off pieces, SZN’s output remains one-size-fits-most. Now mother to a four-month-old baby, she found “the fact that I could wear the same garment from the beginning to the end of my pregnancy was actually really good. I became my own test model for that size range.” Terzini’s take on gender is just as loose: “There’s no such things as women’s and men’s, in a way … the world is a bit freer, and a bit more loving these days.”
For both Dlouhy and Terzini, clothes are about grappling with the future. “The more conceptual you get … the further away from reality and the body shapes you get … you’re no longer trying to echo what the body can wear but looking at future ideas,” Dlouhy says.
At present, Dlouhy teaches sewing at The Social Studio in Melbourne to supplement her label. She also DJs for income – something Sydney fashion designers typically do for credibility, not cash. Ultimately, she would like SZN to become a full-time job. But making one’s output sustainable and one’s business sustainable are two very different challenges.
The irony, and beauty, of the end-of-the-world aesthetic coming back into fashion is that, for those who first dreamt it up in the 1980s, and their contemporary disciples, the style is about ending the cycle of fashion. Each collection bleeds back into the previous, and forward into the next. Visually, it speaks to a catastrophic future, but conceptually it’s about saving the present. This style asks us to shatter the gender binary. It asks us to consume less. To develop a simple, personal “uniform”. Fashion has taken an apocalyptic turn. Perhaps we’re trying to imagine this future in order to prevent it.
Sass Brown from Eco Fashion Talk features SZN on her website here.
Its a great privilege to have Brown checkout SZN, when she has been such an awesome champion of sustainability herself. If you've ever wanted to delve deeper into upcycling and other eco fashion processes Brown has published two great books on the topics:
SZN has been announced as a finalist in the 2017 VAMFF Fashion Film Series!
The SZN Fashion Film has been created in collaboration with Running Panda Films and explores the designer's imagination. Featuring choreography by Miss Jane Doe, and performances by Ailish Lyndon, Hannah Dale and Faro Musodza. With make-up by Katie and Deidre Dobbin.
VAMFF invited Australian and International, emerging and established filmmakers to submit short fashion films to be judged by a panel of industry professionals. The judging panel has selected 6 Australian films and 4 International films to be a part of the 2017 Fashion Film Series, and receive exposure to a significant audience through highly credentialed screening platforms.
Presented by RUSSH, as part of the esteemed #VAMFF Arts Program, you can see these films on screen at venues including Popcorn Screening @ Fed Square 6:30pm on 2 March 2017 and RUSSH.TV from 1 March - 19 March 2017.
"This is fashion – Archer Magazine style. Three models who proudly identify as transgender or non-binary, a handful of inclusive brands, and one solid creative crew.
With us, diversity comes first, and that’s something we have in common with the brands, people and studios we work with. In this editorial, photographer Leila Koren plays with light and latex to showcase gender-diverse models as deities of our time, soaking up the spotlight they so deserve.
The thread between our models was confidence, pride and strength of identity, so we designed looks that would exemplify these traits, while showing off their individuality and sense of style.
We included some behind-the-scenes shots as a reminder that all images are constructed, and to show off our awesome crew.
The looks are fierce. The feeling is joyful. The result is reverent and radiant. We hope you enjoy it."
PHOTOGRAPHY Leila Koren
CREATIVE DIRECTORS Natasha Jynel + Alexis Desaulniers-Lea
STYLIST Diane Vu
LIGHTING ASSISTANT James Plant
ASSISTANT STYLIST Michelle Sam
PRODUCTION ASSISTANT Bobuq Sayed
HAIR + MAKE-UP Helena Regina Smythe
BTS PHOTOGRAPHY Florencia Mdv
MODELS Priya, Lana Faye + Mama Alto
LOCATION Awesome Sauce Studios
MAX BLACK www.maxblack.com.au
ANDROGYNOUS FOX www.androgynousfox.com
THE SOCIAL STUDIO www.thesocialstudio.org
PAT MCGRATH LABS www.patmcgrath.com
ONCE MORE WITH FEELING VINTAGE @oncemorewithfeelingvintage
Leah from SZN stockist Milly Sleeping recently interviewed me and this is what was said:
One rainy morning recently, I made my way to the home-based studio of Suzan Dlouhy. Suzan's label, SZN, was introduced to Milly Sleeping in March or April of this year, and was a quiet success from the start. Not many SZN garments have made it into our online shop (although I've added a handful today), as we've tended to get in a small bunch of unique pieces every few weeks or so, and have tended to sell them quite quickly!
For the most part, these garments have been wonderful, oversized, monochrome, daily-uniform kinds of things - smocks, tunics, dungarees, etc ... For the most part, they've been made of organic linen or recycled denims, forming simple but unconventional shapes (great silhouettes!), and producing nil or minimal fabric waste.
When I spoke to Suzan at her studio, we had a brief but involved chat, about her transition from Canberra to Melbourne, her work teaching with Social Studio (via RMIT) and the evolution of her label. One thing I didn't know about Suzan is that she has a degree in Environmental Science, which has obviously influenced the kind of business she now runs - from (in her 'early days') working with post-consumer waste matter to make her clothing, to (now) spending months and months sourcing organic fabrics, and committing to nil or minimal waste production when making her patterns.
I walked away feeling seriously impressed by Suzan's energy and integrity. And - wow - just minutes after posting this interview, I've discovered that SZN has won a Victorian Premier's Prize for Fashion Design... Congrats Suzan! Here, just a snippet of our discussion:
Tell me again how long you've been in Melbourne for?
SD: 2.5 years
It sounded to me like 'things have fallen into place for you', following a lot of hard work. Do you see it that way?
Yes, I've met great people here, who were very inclusive without knowing me, and that's led to different opportunities.
[In terms of my label], I try to evolve and adapt each collection with the lessons learnt from the last.
How do you feel about working for yourself, on your own?
I love it! Happiness is being able to play whatever music you want and control the temperature you work in (both of which I couldn't do in an office). Oh, and endless tea breaks!
Do you feel optimistic about 2017?
Absolutely! I'm about to become a mum, and hope to balance that with building SZN. I'm keen to explore SZN's aesthetic in organic knitwear for Autumn Winter 2017... if I'm not too tired...
Read below SZN's submission that won us Best in Category for Fashion Design:
SZN Spring Summer 2016/17 collection successfully merges environmental design, anthropomorphic considerations and style into each garment.
Delivering a collection of garments each addressing minimal waste in production, reductive pattern making in the concept stage and universal sizing in the finished product, all cut from certified organic cotton and hard wearing hemp fabric. SZN is an independent label design and made in Melbourne.
1. Reductive pattern making, makes for a streamlined and efficient production process to reduce time and cost.
2. Minimal waste, each garment utilities 95 – 100% of the entire length of fabric so that there is little to no landfill as a result of production.
3. Universal sizing, looks at catering for diverse bodies, which also in a stock sense makes it easier for a garment to be worn over a long period of time as the wearer changes size.
4. Organic and natural fibres, removes the toxic polluting substances typically used from both the growing, dyeing and wearing phase of the garment\’s lifecycle.
5. Unisex garments, recognising the gender neutral requirements of wearers and the chance for customers to style each garment to their own taste, each garment is presented on different bodies to be inclusive of all.
From your personal experience, what are the hardest aspects of running your business with sustainability in the forefront Vs profit?
The cost of fabric is higher; brand representation and presence in commercial media limited; and access to educating the customer on the product is minimal. To counteract these aspects time and money can be spent to promote your business and consumer more, but its not always reflected in sales and or presence, so at present being sustainable is purely a personal motivation and basic standard, but I believe it informs my designs and practice, which makes SZN unique from other labels.
Which manufacturing practices do you see as the biggest environmental threats, and which do you try to avoid?
Mass production, especially for products that are not guaranteed purchases or their lifetime use determined. SZN has tried different approaches with each collection, and as more information on environmental impact surfaces has evolved. For example our first collection used only pre-consumer waste, the second upcycled post consumer waste and current collection organic fabric in zero waste design. New information regarding the discovery of micro-plastic shed over the life-cycle of synthetic garments has informed our move to ultimately use the least toxic textiles available.
Do you believe that hiring labour in third world countries (upholding fair trade) is a positive thing? Or does come with its own social and environmental downfalls?
If companies forge good transparent relationships that can be monitored and provide for a healthy lifestyle for all of their labour force then I see that the skills, traditions and existence of international labour markets as necessary for the fashion industry. Unfortunately Australia has a limited manufacturing capacity and has not been able to technologically evolve to meet the standards, capacity and or skills of countries that have maintained their manufacturing industries. I also prefer to not differentiate labour as from 'third world countries' since ethical labour practices are more nuanced and poor conditions can be just as apparent within more developed nations.
In your opinion, has fast fashion been created by consumer demand? Or is it an invention of the industry?
No, fast fashion is a reflection of our times and lifestyles. Markets fail to account for the 'true cost' of resource-use, so they are able to be exploited without the impact considered in the pricing of the goods. Also the cost of living has changed dramatically so that disposable incomes must stretch to cover more. And marketing has targeted satisfying desire over the provision of quality goods from reputable companies.
Whose responsibility is it to change the attitude towards fashion consumption? Consumer? Manufacturer? Marketing companies? Bloggers? Social media influencers? Celebrities?
It is all of our responsibility to make sure that we consider the impact of our behaviour towards consumption - we should be the change we need.
How interested are millennials in being environmentally and socially conscious? Do you think awareness has become better or worse over the past few generations?
I'm really not sure, I feel that with the internet and individuals being able to best represent alternative views of the industry, awareness has increased. But at the same time the cost of products have dropped, marketing increased and populations grown so the environmental impact of our consumption has not reflected this increased awareness. Some people are not interested or informed of the impact of their purchases, so I still feel more needs to be done at the regulatory level to prevent markets from allowing business practices and resource use that is un-environmentally sound.
If you could change one thing about the fashion industry on a world-wide scale, what would it be?
Costing of resources. The life-cycle of resources should be economically considered at the input stage, so that manufacturers and consumers are responsible for the whole life-cycle of a product, including its disposal.
"In its third Fashfest presentation, Melbourne based label SZN presented simple, intelligent designs in a neutral colour palate. All in one suits, loose tunics and draped coats were presented in multiple colourways and on both male and female models, demonstrating the genderless nature of these pieces. While looking simple at first glance, clever details such as large pockets, the folding and draping of fabrics, and play with proportion proved each piece to be anything but."
"SZN took minimalism to a whole new level with this their third appearance at Fashfest. The colour palette was made up of white, black, grey. Lines were crisp and clean with no embellishments, statements or detail of any nature other than the natural movement of the fabric. The style of the garments were also very gender neutral with both female and male models wearing identical jumpsuits, and similar oversized tees, capes and harem pants. The cut of some of the capes and jackets had a very distinct Japanese yukata feel. A perfect collection for lovers of Japanese minimalism."
"SZN’s collection comprised of artfully made one-piece jumpsuits and kimono style outerwear, and somehow made super comfortable clothing look cool as well."