THEFASHIONADVOCATE ISSUE 01
utopia
FRED HATES FASHION
editor’s letter
hello UTOPIA: An imagined place or state of things in which everything is perfect. I do most things backwards, and this magazine is no exception. Usually an editor picks a theme before planning their monthly magazine, but it wasn’t until I had compiled the 57 pages of The Fashion Advocate’s launch issue, that I found an adequate title. We all have a different idea of our own utopia; a life with no stress, more money, less work, more clothes, less weight, more time, endless Champaign and runways, but in the fashion world, there is no such thing as perfect. It’s an interesting industry, ever changing, tough, demanding, competitive and cutthroat, but its also very inspiring, life changing, motivating, passionate, creative and magical. Every day, you and I both get up and get dressed, we make a conscious decision to wear all black or no black, send certain messages and represent ourselves by what we choose to wear. We all have a relationship with fashion that is deeply ingrained in our every day lives and whether we acknowledge it or not, it exists. It’s what you do with the relationship you have with fashion that makes a difference in this industry, and as the pages of this launch issue reveal, there are some very special people doing very special things with theirs. On page 13, we share ten questions with Thom Kerr, fashion photographer and all round creative, who reveals that the life he leads now, was but a mere unattainable dream in the beginning. On page 35, Bella McGoldrick opens up about her journey as a designer, living and learning away from home and feeling the exact same way about finally reaching a milestone that also started as a dream. On page 41, the gorgeous Karen Woo shares a personal story about her shift into fashion photography after nearly a decade in the business industry, and, my interview with Creative Director Hinny Tran of Fred Hates Fashion on page 7 is the pivotal piece of this issue. His journey from delinquency and expulsion to international acclaim is beyond inspirational and his work with fashion film is phenomenal. One of the hardest parts of finding and following your passion, is reaching self-approval, and having the approval of those around you to pursue the one thing that motivates you, moves you, and makes you… happy. This entire issue seems to ring true that if there is a will there is a way, and I feel privileged that I’ve shared moments with the artists, photographers, designers, film makers, illustrators and creators who are making a difference, and I am so excited to now share them with you. Each and every one of the inspirational stories in this issue is a testament to perseverance and passion, and if ever there were a recipe to a fulfilling life in the fashion industry, those would be the two key ingredients. Here’s cheers to an industry that I happily, lovingly and genuinely devote my (often 16 hour) days to. Welcome to The Fashion Advocate. Claire Goldsworthy. Email me: editor@thefashionadvocate.com
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contents
7 13 15 27 31 35 41 49
Hinny Tran Creative Director, Fred Hates Fashion
Thom Kerr Fashion Photographer
Megan Greenwood Fashion Designer, Emgee
Shelly Gow
Fashion Designer, Kinki Gerlinki
Zoe Champion Fashion Designer, Self Titled
Bella McGoldrick Fashion Designer, Self Titled
Karen Woo Fashion Photographer
find me Facebook @FashionAdvocate
Benjamin Ringuet Fashion Designer, RINGUET
Twitter @thefashionadvoc Instagram @thefashionadvocate Web www.thefashionadvocate.com 4
contributors Amanda Cunningham Melbourne Amanda Cunningham is a Communication student with a background in psychology, but a passion for design. She won awards for her textile designs while in high school and has been known to sport her own creations when current trends don't take her fancy. Besides reading and writing, Amanda keeps herself busy dancing, crafting, cooking, eating and snuggling. Katelyn Rew Melbourne Katelyn is an award winning photographer and freelance writer. She writes for various publications discussing the topics or art, travel, fashion and culture. Katelyn also dabbles in the romantic word and has had her poetry published in 'The Morning Bell'. Her long standing love of local fashion is shared in her interview with Megan Greenwood of Emgee on page 15. Paul Caccamo Melbourne Paul thinks of himself as a creative person in a monochromatic city just wanting to be heard. He is an actor, a writer and he occasionally says, “cool” when he takes a great photograph. Paul also immerses himself in videography, fashion and music (although his shower ballads are not quite Grammy quality yet). Australian fashion inspires him because it is always changing. Brienna Wapple Melbourne Brienna grew up in Brisbane and now lives in Melbourne. She’s currently studying Journalism and Business and her goal is to be a fashion writer full time. She loves reading, travelling and (of course) shopping. She loves the Australian fashion industry because of it’s differences and contrasts to the international market, and she values the unique Australian take on things. Iona Shearer Melbourne Iona is a freelance writer and travel addict who fell in love with Australian fashion when she moved to Melbourne in 2014. Influenced by both the well-established names to the emerging designers who are changing the face of fashion, Australia has helped to define Iona’s personal style and (unfortunately) encourage her penchant for shoes, clothes and all things sartorial.
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industry
country of origin The US Congress recently enforced a bill creatively titled, ‘Team USA Made In America Act’, regulating the necessity for all US uniforms to be manufactured onshore in the US. The bill has opened an interesting debate, considering that 98% of America’s clothing and textile materials are imported from other countries. The same law does not exist in Australia, but what we do enforce, is a manufacturer’s obligation to adequately display their garments’ country of origin. Consumers and designers often lie at opposite ends of the spectrum when it comes to garment labeling, as there are many moral and monetary factors to consider. Whilst many of us like to know where our clothing comes from, certain countries carry certain stigmas, and it can have both a positive and negative affect on the garment. Conglomerates and internationals have a lot to answer for too, as many of their garments aren’t sufficiently screened before hitting the retail floor. I recently learned of a close friend’s experience at Myer, whereby she purchased a garment specifically because the external swing tag stated, ‘Made in New Zealand’, only to later find out at home that the internal care label read, ‘Made in China’. Understandably, she wasn’t very impressed about it, so I canvassed the streets in search of the popular opinion as to whether consumers really care about clothing labeling and country of manufacture… “I think clothing should have the country of manufacture clearly labeled because it gives consumers an indication of the quality of clothing.” Belinda, consumer, Brisbane. “Yes, clothes should be labeled with the manufacturing country. Without the label, you don't know the quality standards, the working environment of the employees or if sweatshops are being used. I also like to think I’m getting what I’ve paid for; do you want your Sass and Bide clothes made in a country that underpays their workers?” Maryanne, consumer, Brisbane.
“Absolutely! With the knowledge of place of manufacturing, consumers can make the choice to support countries with fair trade agreements. Ethical shopping is sometimes tricky but knowledge creates power of choice.” Sarah, consumer, Brisbane. “I do think that every item should be labeled with the appropriate information regarding where it was manufactured. More and more people are becoming aware of the conditions in which our clothes are made, and in order to make informed purchases, I feel it is our responsibility as designers to provide this.” Lois, designer, Melbourne. So what responsibilities do designers such as Lois have when it comes to labeling the country of manufacture? It’s a very intricate web, as often the materials are cultivated and harvested in one country, drawn and spun in another and then dyed, woven or finished in yet another. Labels such a Jeans West face this multi-country of origin problem, as the label is designed in Australia and manufactured overseas. Jeans West Associate Designer Stephanie Gray knows it is a complex issue, but the brand makes every effort to be transparent. “It's a legal obligation for a garment to be labeled with its country of origin, so we label each and every piece, no matter where it is made. It does effect the consumer though, as they see where it is made and sometimes view ‘Made in China’ to be of lesser or cheaper quality. Garments that are labeled ‘Made in Australia’ are often deemed to be ‘expensive’ or of a higher quality to the consumer. It really does financially affect Australian designers who wish to design, source and make garments on-shore, as it is a very expensive exercise. Most large companies and some medium-scale designers will have clothing made in China, India or Bali, because of the expense of manufacturing locally. Factories in Australia are starting to close down as more and more designers are going off-shore for manufacturing.”
“People should buy Australian-made over imported, as it helps our industry and is more environmentally sound, so the label allows for an informed decision. It also gives an idea of the production cost of the garment and what you should pay for it. Often, where a garment is made relates to its quality.” Julie, consumer, Brisbane.
And so, it is not an easy debate nor is there a simple solution. Perhaps if consumers supported the Australian industry more, fewer designers would be faced with the decision to manufacture off-shore to cut costs. As a designer, it is impossible to make every single consumer happy, but there are certain choices that both the designer and consumer can make to positively influence the issue. My suggestion: shop local where possible and make informed decisions.
“Yes, for no other reason than choice. You can't make the choice to buy locally if you don't know what is and isn't made in Australia. The problem comes from where you draw the line though; is it Australian made if the fabric is imported but sewn in Australia? What if the fabric is Australian made but the garment is sewn off shore? It’s a difficult debate.” Jonathan, consumer, Brisbane.
By Brienna Wapple.
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hinny
tran Fred Hates Fashion
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If you haven’t done so already, do yourself a favour and watch a Hinny Tran film. Leave the pages of this magazine and watch just one, but know that when you watch just one of his films, you will be immediately craving the second, then the third, and fourth. Hinny is a Creative Director, a pop artist entrepreneur, and his work with fashion films is entrancing, engrossing and confronting, to say the least, and I can never seem to stop at just one. Alongside an incredibly talented and artistically connected team of production artists, Hinny is also the Co-Creative Director of the annual event, Fred Hates Fashion. I am not exaggerating when I reference the power of his films, and I’m also not shy about the fact that I may be Hinny Tran’s biggest fan. But, when something in the fashion world moves me, it deserves a noble mention. There is a certain depth and darkness to his films, and the way in which he achieves an intellectual conversation on a visual level, impresses me beyond belief. The word ‘fashion’ is somewhat tarnished: glossy magazines, bright lights, supermodels, bling bling, need, want, trends, but Hinny’s work surpasses the singular idea that fashion is ‘an item’, and instead, his films convey a dialogue of purpose and substance. In his films for designer clients, clothes are not just clothes; they are a physical amalgamation of a non-tangible concept, of which each designer has their own. Hinny’s films respect this individuality and through intricate details, he personifies ‘fashion’, telling a tale of each garment’s purpose and connection to both the designer and the wearer. And, like most minds that possess this unique sense of vision, Hinny developed his through necessity. Growing up in a government flat in Fitzroy with a mother who worked in the entertainment industry and was rarely around, Hinny was accustomed to adolescent delinquencies. He was forced to create his own childhood and spent a lot of his time in after-school care facilities like the Fitzroy Youth Music Program. It was here that Hinny developed his love of the creative, learning everything from chromatic scales to blues improvisation and composition. He also spent a lot of time at ‘Cubbies’, a local adventure playground where he would build and re-build his own dream cubby house (albeit with splintered wood and rusty nails), and the experience opened Hinny’s mind to magic. “The volunteers who ran the place were real characters and they were usually pretty strange and loose. One of the workers, Marianne, was a six-foot tall woman with red hair who had convinced me that I could meditate and send messages with my mind. I spent a lot of my childhood hours meditating and imagining magic.” And although he was in and out of foster homes regularly, he was the popular kid at school that had charisma. He spoke at school assembly, he won awards, he got good grades and he lost sleep over art and science projects. But, he was also the kid that was prescribed Xanax, got caught smoking, got into fights, and who drank whiskey at mass. Needless to say he was expelled, more than once. “I lived double lives from an early age
and I was pretty good at being genuine to them. I was loud; I wanted attention and I was good at getting it. I was expelled from three different schools and when I would enroll myself in a new one, I would create an elaborate story for the principle that my parents couldn't be present to sign the enrolment forms because they were holidaying overseas.” It wasn’t until he had well and truly navigated the complexities of his childhood, that there came a day to define him. “I was 22. My sister left a video camera in my room one day and I picked it up and played around with it. I made a video of myself getting dressed in about 30 different outfits to Kesha’s song, ‘Tick-Tock’. It was a summary of what my morning routine was like at a time when life was fun, and all you had to care about was what you were going to wear and what blogs you were going to read.” When Hinny uploaded his jovial half-naked homemade video to Facebook and YouTube, he got an incredible reaction, so much so that the video was embedded on a Thai pornographic website. He learnt two things about himself at that time: people would pay lots of attention to his films, and, it was the only thing that satisfied all of his creative desires and didn't box him into a single discipline. With this realisation, Hinny quit his business degree in the last semester before graduating. And although he had grown up videoing every day things on his phone, recording footage of memories and seemingly insignificant things, the idea of film as a profession wasn’t something he was always fond of. “I failed film subjects at Latrobe University and I couldn't stand it. I hated film class. I hated the posh talk, the overanalyzing, biased sympathizing sessions and the assumptions that filmmakers always knew what they were doing. It's not that I didn't care enough, it's because I hate the ‘all talk, no action’ approach. I was arrogant, but university hadn't provided the space that I needed to interact.” The way in which Hinny opposed institutional expectations and came to embrace his passion on his own, is one of the most intriguing facts about him. It is also one of the most inspiring, because it’s a problem that many creatives face and they often don’t feel the validity of a self-taught path. “Learning about which button did what never started on the camera or keyboard. For me, the buttons are my behaviours. Turning my interests into film was just about using what I had, whether that was a camera phone, a handy cam or iMovie on my Apple MacBook. I see something first and worry about the technology later.” After finding his confidence with creative expression through film, things moved very quickly for Hinny, and he made his first solo project, BODYMOD, in 2014. The short sci-fi psycho-trip fashion film was purely creative and with no commercial gains to consider, Hinny let loose. The film is confronting and it suggests some very poignant philosophies about the way in which fashion engages the outer-self physically, and the inner-self emotionally. It follows the journey of three contestants (aptly called ‘Trendoids’) who undergo an intense series of test modules that require 8
them to design their own bodies, rendering an elaborate version of superficiality.
duty of care we have to one another.”
The entire film is narrated by Hinny’s own perceptions with lines such as, ‘Fashion is the simplest form of body modification and modifying your body is the simplest form of self expression’, ‘Historically, aesthetic has always come before functionality, hereby, fashion has been the catalyst of human evolution’, and, ‘Your body and your fashion are at war with one another’. Whilst the darkened tone and graphic nature is a little haunting, the message is alarmingly on-point. The evocative film received Official selection for a number of awards including the International Fashion Film Awards, La Jolla Fashion Film Festival California, Miami Fashion Film Festival and London Fashion Film Festival, and also Special selection screenings at the Museum of Contemporary Art California, screening along side other directors such as Karl Lagerfeld.
Hinny’s primary school friend Dee Huynh has also joined the team as the Executive Event Producer, and Lizzie Sharp has been enlisted for her prowess in make-up and visual effects. When the entire crew is together, the creative sparks fly. “Our team is getting really strong, we’re focused and there's synergy, so everything that we have produced this year feels more silky smooth, more eye-catching, more expensive and more hard-hitting. More fashion, less hate, and an equal amount of ecstasy to compensate. Having Lizzie Sharp on board has positively changed our creative process too. Her brush stroke is such a vital part of my work now and I have learnt so much from her aesthetically and spiritually. Lizzie is really nurturing, graceful, won’t take no for an answer and she is somebody we can rely on to get things done with style. She is also the only other person that I know, who can spot a needle on the road. Skills.”
The public’s acknowledgement of his passion fueled Hinny’s fire, and his affliction with fashion and indulgence in film quickly grew to become it’s own entity with the Fred Hates Fashion event. Contrary to popular belief, the implication is not as the name suggests; Fred loves fashion so much that he hates it. “The character had to be likeable as well as flawed, humble like the underdog and a little bit of a creep. Mostly, the character had to be passionate and obsessed beyond the point of frustration. Thus, Fred was born.”
Between working towards the upcoming event, managing his personal projects, piling up his film awards and running his own video public relations business ( Video-PR.com.au), he paints an enviable picture of creative success. Hinny works a lot through, and ‘a lot’ is an understatement; he’s found ways to work in any situation, including whilst driving, in a club, in the cinema and even while on the toilet. He doesn’t get a lot of alone time and he is constantly fighting for breaks, but he wouldn’t have it any other way.
The inception of the now annual event was an answer to Hinny’s ongoing search for a multifaceted way in which to communicate fashion and its intentions were entirely pure. “We wanted people to remember the excitement and anticipation, the beauty, the craziness and the ecstasy of a runway show, with all their senses.”
His schedule is a testament to the old saying, ‘no pain, no gain’, and whilst he is well and truly on his way to financial security with the creative empires he is building, Hinny assures me that it’s not all sunshine and roses just yet. Video-PR has the capacity to financially support him, but the trade off with the commercial side of the film industry means he occasionally works with less inspired clients who don’t appreciate his talents, and he is often faced with the decision to choose between project work with Video-PR, or creative work with Fred Hates Fashion. Hinny doesn’t profit from the Fred Hates Fashion featured designers either; rather they make a comparatively minute contribution to the cost of production. Hinny disagrees with the concept that having more money makes you suffer less, and he measures the success of Fred Hates Fashion not by the dollars that it brings in, but by the people who are involved with it. “FHF couldn’t exist without the dedicated volunteers and honest artists who handcraft the project purely because they believe in the vision. I will always be a ‘struggling artist’ and whilst I know that financial support would solve a lot of our problems, I also remind myself that if we can't do amazing things without money, how are we going to manage the financial magnitude that comes with it? None of us take action because we are rich; we are rich because we take action.”
The Fred Hates Fashion event brings together art, film, music and fashion, and it is driven by collaboration, through both traditional and unconventional means. Seven hand-picked emerging and established designers, seven of the best emerging directors of the local film scene and seven music composers take on the challenge of creating their own fashion films, culminating in one runway presentation. Each of the teams work without the knowledge of what the other is doing, and whilst there is a healthy level of competition and a sense of mystery, they all work towards the same creative goal, with the same collaborative values in mind. The number seven has no significance, but the act of bringing together the individual work of individual people, as one group, is what holds significance to Hinny. “When I went to watch Marvel's Avengers for the first time, the film didn’t start in the cinema; it started in the lobby where all the movie posters were displayed - a group of superheroes, each with their own poster, each with their own special power and their own purpose. They were all ‘super’ in their own way and it was a personal choice as to which one you loved the most and why. I wanted to recreate that fandom in fashion. Designers are superheroes to me and their filmmakers are their partners in crime. Together, we want to glorify them.” With such a strong and unadulterated ethos behind the event, it is no wonder why Fred Hates Fashion is approaching its third successful year, although it’s possible that Hinny’s over-active mind also has something to do with it. He is constantly looking for patterns, reading reports, asking questions, identifying trends and observing behaviour. “I'm always asking, ‘If we can pop corn, what else can we pop?’ and it's a hypothesis that compels me to commit time, passion, and hard work, to find the answer.”
It is so refreshing that the wide spread acclaim of Hinny’s work hasn’t gone to his head. He distances himself from the typical film buff guise and whilst he looks to the work of other local artists like the Askil brothers for inspiration, he is nonchalant about the glitter and glam of it all. “I don't know all the names of famous directors and I'm particularly uncool when a film convo is going on. Somebody recently told me that my work seemed inspired by Stanley Kubrick (Clockwork Orange), but I had no idea who he was. After Googling him, I love Stanley Kubrick now.” As for any imparting advice for future creative directors or film makers, Hinny’s suggestions are simple: “If you don’t know where to start, start with a crazy thought. If you don't have a crazy thought, start with a happy thought.” By Claire Goldsworthy.
Allan Lim has recently stepped up as Co-Creative Director of Fred Hates Fashion and he shares the same vision for the event. It is clear that behind the extravagance of it all, a very close-knit and dedicated team exists. “We are a relatively small and tight team, but if you work with us, respect us and have a great attitude, no matter how short or long your stay is, you’re a part of our family. A huge part of the project is the emotional management and 9
www.hinnytran.com www.fredhatesfashion.com
FIRST LOOK The 2015 Fred Hates Fashion campaigns feature local designers Natalie Kieleithner (left) and Joel Gionis (below), starring models Rowena Xi Kang and Nick Sampson.
Producers: Dee Huynh, Bianca Meredith Director: Hinny Tran 1st AD + Retouch: Allan Lim DOP: Dan Von Czarnecki Director of Makeup + Hair: Lizzie Sharp Assistant MUA: Taryn Gionis Assitant Hair Stylist: Joel Gionis Stylist: Milana Demina Stylist: Joel Gionis Stylist: Hinny Tran Assistant Stylist: Tom Cumming
Buy tickets: www.fredhatesfashion.com August 29, 2015
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