Artistic works reveal the DNA of fashion


VISUAL ARTS

High Risk Clothing / Critical Fashion, RMIT Design Hub and Madame Serini Haute Couture, Immigration Museum, both until March 18; Kate Sylvester: Carry me, Tinning Street presents, until March 19

One function of fashion festivals is to shape careers – not just design careers.

Robert Buckingham, now Creative Director of MPavilion, co-founded the Fashion Design Council of Australia in 1984 with fashion illustrator Robert Pearce and jeweler Kate Durham, and was Creative Director of the Melbourne Fashion Festival from 1996 to 2003.

Robert Pearce (left), Kate Durham and Robert Buckingham in 1984.Credit:Lindy Perceval

The networking and advocacy skills that Buckingham has developed in his role at FDC are documented in High risk skinning / critical mode. Credit is given to Fashion ’82 and Fashion ’83, directed by pop culture sons Julie Purvis and Jillian Burt, as the forerunners of FDC’s decade of fashion, music and performance events.

By lobbying for public and commercial funding, sharing information, organizing parades and retailing, FDC has served untrained designers such as Alannah Hill (Alannah Hill, 1997 to 2013 and Louise Love, since 2014) and fashion illustrator Angie Rehe as well as skilled designers. like Victoria Triantafyllou, who launched her eponymous label in 1994.

Among the original attendees of the high-energy FDC shows were the irreverent Jenny Bannister (Jenny Bannister Fashion, from 1976); and New Zealander Kara Baker (Sirens, 1984-1992), a designer with skills in pattern cutting and sewing.

In the typical Melburnian interdisciplinary fashion, Baker continued to develop costumes with choreographer Shelley Lasic a (for Project, from 1999). Since 2009 Baker has focused on tailored clothing, characterized by luxurious fabrics and the seemingly effortless elegance that comes with a good fit.


Comments are closed.