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Threading Lightly

Discover how emerging Melbourne designers are making sustainable fashion real at this pop-up installation.

Solving climate change isn’t a choice. It’s billions of them.We face this profound challenge together. The fashion industry will play a key role in overcoming it, but our choices as individuals are also critically important. Doing nothing isn’t an option.

To support its #ActNow climate campaign, the United Nations is challenging people around the world to join the zero-waste fashion movement. By making practical, day-to-day changes in our own lives – like thrifting, upcycling, and curbing consumption – we can influence system-wide changes and help shape a better world.

To spread awareness of the #ActNow movement and highlight the importance of collective action, Deloitte is proudly showcasing the works of emerging local fashion designers who use sustainable practices or contribute to the circular economy.  

Meet the designers

Aviva Gandler

Clothes lead rather mysterious lives. They are produces by the billion and discarded almost as fast. A curious predicament arises - where do all these garments go? Too Many Clothes is a project that physically and theoretically grapples with this predicament. Physically, each piece attempts to use as many second-hand clothes as possible. For example, the shoe soles are made from a starched business shirt, and the rest of the boot uses t-shirts and rags that have been cut into yarn and crocheted. The collection also features bulbous papier-mache vessels. These have been constructed from scrap paper, fabric scraps and plaster. The vessels have the capacity to hold even more clothes. The large shapes, and weighty compacted materials mirror the literal physical challenges we face with overproduction in the clothing industry; awkward to transport, difficult to store, heavy to wear. The vessels are also intended for performance. The wearer can fill and empty the paper-mache containers, an unsettling process to witness. Bulging, stuffed, and swollen, the witnesses are asked to reflect on the stagnating and wounding effects of consumer culture.

Yet, this project is a paradox (to make a collection of clothes with the statement 'Too Many Clothes). As a result, I adopt a multi-disciplinary approach to fashion. Thinking about space and matter, the garments are not only designed to be worn, but also present as ornament, and sculpture. This is because clothes spend more time 'dressing' the spaces around them than human bodies. In other words, garments are more often an object within a space then a 'second skin'. Too Many Clothes celebrates this overlooked context for clothes. The garments displayed here cannot be tucked away in a wardrobe or stuffed into a chest of drawers. They cannot sit limp and lifeless on the floor, nor will they survive the outdoors if they were to litter the streets. This collection asks us to see garments in a new way. As not only the things that cover our bodies, but, as materials displaced from their origin, and processed into garments that clothe our environment. - Too many.

About Aviva
Aviva contemplates societal structures, with the aspirations of improving the world, environmentally and socially. As a result, her designs optimistically explore alternative systems for society. Her hand-crafted work incorporates slow techniques that take weeks to make. For Aviva, these slow processes express how she wishes the world could be - a place, where matter, matters. In essence, Aviva's work is about taking matters into her own hands.

Name / Brand - Aviva
Social Media - @__aviva____

Jedda Bahloo

Jedda Bahloo is a Naarm based multidisciplinary artist and designer who is passionate about creating social change through fashion, art and textiles. She aims to incorporate elements of waste, modularity, functionality, emotional durability and mending within her work to critique how fashion (the entire industry & mode of production) impacts the world around us. With this in mind, Jedda explores ways in which “sustainability” can be defined, questioning the capacity for ‘sustainability’ to exist within the fashion industry’s current production model. Given this focus on sustainability, Jedda prefers to utilise scraps, toiles and materials that would otherwise be discarded and transforms them into well made wearable garments and pieces of art. Jedda’s current collection ‘hmm…must have missed it…’ utilises these techniques to engage concepts of environmental waste and the exploitation of human labour.

Jedda feels that the fashion industry’s contemporary production model often negatively affects the world around us. Her work explores ways in which “sustainability” can be defined, questioning the fashion industry's capacity for ‘sustainability,’ both environmental and interpersonal. Working within this tension, Jedda emphasises quality construction and use-value garments which draw attention to the lifecycle of modern clothing.

Instagram: @pocket.m0ney

Lily Turnbull-Jones

Lily Turnbull-Jones is a recent graduate of the Bachelor of Fashion Design (Honours) at RMIT University. Their 2022 graduate collection, entitled ‘DONNA ANONIMA’, is a series of womenswear garment outcomes exploring the role of the maker and their relationship to their materials, in order to discover new sustainable and regenerative garment making methodologies. The collection is also posed as an ‘imagined’ collaboration between Turnbull-Jones and an unknown pattern cutter, reflecting upon the multiple unseen identities that are embodied within the making process. Beginning with a ‘gleaned archive’ of discarded deadstock materials that had all been pre-cut, ready for assembly into t-shirts but never completed, the fabric waste is reimagined into entirely new configurations. These sustainable and regenerative methodologies are central to Turnbull-Jones’ ongoing practice, framed by a consistent interest in nostalgia and materiality, working with DIY/handcraft processes.

Evie Rosa

I am an emerging creative practitioner, adopting an interdisciplinary approach to critical fashion design. My aim is to investigate our relationship to materials and new ways of making which can foster more reflexive and relational design processes capable of responding sustainably.

Within this project, I aimed to expand the use of pre-existing garments in fashion practice to challenge the way we design with raw materials. My material process involved dry felting cut garments onto a wool blanket backing, informed by the rag paper technique, but using specialised needles instead of a water bath to interlock the garment’s fibres. The use of dry needle felting amplified the material qualities of the pre-existing garments (material composition, colour, knit/weave type) to a point where the cultural signifiers of each garment were overwhelmed by the mass of material being broken down and collaged together into an indistinct pattern.

Despite this, the textile needs the underlying condition and context of the pre-existing garments to exist. Without the pre-existing garments’ social value and visual aesthetic, The Rapid Shredder textile is no longer subversive, instead presenting as something else.

Activating the garment as material allowed me to reciprocally deepen my understanding of materials as garments, generating more intentional design outcomes.

Instagram: @evie__rosa

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