$noregazZzm AUTUMN ISSUE

$noregaZzm (Snoregazzzm.tumblr.com, snoregazzzm.bandcamp.com)
Photos: Lucy Fulford (lucyfulford.co.nz)
Styling: Hana Aoake (bellaandmadeline.blogspot.co.nz)
Clothing: (Modern Miss Vintage Clothing, 21 Moray Place, Dunedin violetfaigan@yahoo.co.nz)
Gideon Smit (Gideon@chrysalisfilms.co.nz http://www.chrysalisfilms.co.nz/)
Photos taken at Lover's leap, Dunedin Peninsula.

The jewellery of Lucy Noone

 Inspired by the nostalgia of her childhood kitchen, jeweller Lucy Noone’s work evokes questions on patriarchal and art historical hierarchies.  Lucy Noone is a Dunedin based jeweller, who recently graduated with a Bachelor of Visual arts (BVA) in jewellery from the Otago Polytechnic School of art. The collection was created as a part of Noone’s graduate show at SITE last year.  Upon leaving home the usual gift most New Zealand mothers bequeath to their children is a copy of the iconic Edmonds cookbook. This ‘rite of passage’ of a gift is engrained with the imagery we associate fondly of our mothers preparing food that we would later make ourselves. Noone was given a very old copy of the Edmonds cookbook from her mother. The works immediately register a feeling of warmth. This is through both the connection Noone has with her Mother and the sense of childhood nostalgia to which we can all relate. Most of us have fond memories of our Mothers cooking a feast in the kitchen.  The series of necklaces and broaches features both recipes printed on Mylar and the physical outcome of using one of the recipes (toffee). The multisensory works consist of coffee dyed ropes, which hold found glass bottles, with toffee inside. Each work smells so good, that it’s difficult to restrain yourself from trying to eat them. The process of creating these works was extremely labour intensive and a serendipitous course of trial and error.

The use of toffee was an exhaustive exercise of trying to predict how it would change over time. This was due primarily to the sugar inside of the toffee reacting to atmospheric conditions. The toffee inside these bottles is constantly changing and moulding into something new. The toffee is in fact burnt and is of much deeper, richer colour than that of what we could actually eat. The necklaces made of Mylar and shaped like tiny little houses were hand sewn. Each work is so delicately refined and seemingltoddly so precious.Through the reference to both craft and the kitchen, Noone’s work is innately feminine. The collection examines the whole notion of ‘high’ and ‘low’ art hierarchies; through it’s incorporation of craft technique and the female’s role as a housewife. The collection is based upon the idea of a repressed traditional house wife, who expresses herself through the food she prepares in the kitchen.  On a deeper level the works are a fundamental rejection of the idea that the ‘man brings home the bacon’ and the ‘women cook’. These works are a rejection of the gender roles in which we are socialised to uphold. Noone’s collection can be aligned to the idea of the ‘maternal’ body, through her use of materials and the use of text in reference to the semiotic. The series of symbols which appear throughout each work signifies the intended disruption of art historical hegemonies. At the very core of Lucy Noone’s jewellery is a celebration of the maternal, of cooking and of memory. It is both an examination of the gender roles and the connotations we associate with cooking.  P

hotos: Lucy Fulford (lucyfulford.co.nz)
Styling: Hana Aoake Model:
Kayleigh from Ali McD

MAX WAOTS AUTUMN ISSUE

Photos: Lucy Fulford (lucyfulford.co.nz)
Styling: Hana Aoake

Grace Averis AUTUMN ISSUE

“I am fascinated by clothing as it is an inescapable medium for expression. No one remains unaffected, every garment sends a message, and every message is decoded and interpreted. The purpose of my design is to interrupt these signals and scramble assumptions.”
-Grace Averis

Grace Averis is a recent graduate from the Otago Polytechnic fashion school. Averis’ graduate collection My evil eye combines the use of both wood, silks and cotton. Creating the collection was time consuming, labor intensive and obviously quite experimental process. She credits the literary works of Salman Rushdie, in particular his novel Shalimar the Clown, as inspiration. Each wooden piece involved having to be digitally mapped out using a computer programme, and then assimilated into a prototype, before being carefully constructed into the right scale and fit. The Christchurch born, Dunedin based designer will be showing her collection during the iD fashion week in Dunedin at the end of this month. “…Every garment sends a message”. Quite often I find in watching fashion shows one becomes overstimulated and unable to appreciate the finer details in each individual look. I felt that deconstructing a single look from Averis' collection could effectively connect (YOU) the reader to cohesive threads apparent throughout her entire collection. This is especially true given how overwhelming it can be to piece together a runway show after fleetingly gazing at each look; sometimes it would be helpful for a breakdown of each item that comprises a singular look.


Eyewear:
Averis used a selective selected colour palette; turquoise, black, gold and white. Each colour had corresponding complementary pieces. This enables the collection to have a strong sense of cohesion. My favourite of these looks was the turquoise, which emanated a feeling of rational calm, yet was incredibly bold. Each look had a corresponding pair of wooden teashades, yet they are thicker than say that of the ones you would associate with 1960s counterculture. The best part about the eyewear in the collection is that they each have a chain attached, so you won’t lose them, because they are swinging around your neck. This slight embellishment plays off nicely against the hard lines of the glasses, in particular the semi-circular nose bridge. The eyewear recalls that of Karen Walker’s summer 2011 eyewear collection, particularly Pegs and Bunny.

Gillet/Waistcoat:
The waistcoat is a concoction of subtle feminine embellishment and a masculine, deconstructionist approach to tailoring. The shoulders are slightly raised by the insertion of softened padding. The initial shape probably resembled more of suit jacket, but Averis has cleverly added straps which drape down of either side of the gillet. The draping straps to wander beside one’s legs are adjustable and enable the wearer whatever their size to comfortably encase themselves in the warm and extremely comfortable waistcoat. It is very much reminiscent of the kind of androgynous or rather genderless oversized silhouettes of Yohji Yamamoto, especially in the late 1980s.

Wooden Breastplate:
The resin-coated breastplate can be intrinsically associated with the ancient to early medieval armoury. It cocoons itself around the body using adjustable bondage style straps. Each of the wooden plates falls delicately into each other. Averis studied different types of armoury and appears to have created the breastplate in much the same way, only making the prototype using digital technology. 

Silk Pant:
The high waisted turquoise pant is the perfect structural balance to the entire look. When worn they carry an ephemeral, weightlessness, that makes them deceptively autonomous. The pant is sheer and its lightness comes from its materiality, silk.

Model: Ella Van Ziji
Photography: Lucy Fulford (www.lucyfulford.co.nz)
Styling: Hana Aoake (bellaandmadeline.blogspot.co.nz)
Clothes: Grace Averis (graceaveris@gmail.com)

Maya and Bronwyn make theatre together

Bronwyn wears: Sale top floral, Picasso sweater, blue lace witches britches, ankle boots Modern Miss Vintage Clothing, Femur neck piece Lucy Noone.
Maya wears: Colourful HK sweater, brown leather skirt, Modern Miss Vintage Clothing, rings Jessica Kitto

Bronwyn wears: Sale Floral top, western tie, boots, witches britches Modern Miss Vintage Clothing, College jacket Logan Armstrong
Maya wears: Chiffon tie front shirt + stripey witches britches Modern Miss Vintage Clothing, rings Jessica Kitto shoes/ remaining jewellery STYLIST

Bronwyn wears: Pussy bow tailored shirt, jacket Grace Averis, Femur neck piece Lucy Noone and necklace Patrick Gallagher.
Maya wears: shirt swing dress, Chief's tencel piece, beaded cuffs Margot Reider, shoes Modern Miss vintage clothing, rings Jessica Kitto, Badge and necklace Patrick Gallagher

Photos by Lucy Fulford (lucyfulford.co.nz)
Styling/make up by Hana Aoake
Featuring Maya Turei and Bronwyn Wallace.
Shot at Allen Hall theatre for Marrow Magazine

Laura & Rachel went to India together

FIRST: Rachel & Laura's own Saris
SECOND: Laura: Silk & plastic dress & shoes Modern Miss Vintage clothing, neck piece Lucy Noone.Rachel: College Jacket, stripey 50s suntop, shorts & boots Modern Miss, necklace Underground Sundae and hat stylist.
THIRD:Laura: Silky knit top, western string tie, beaded cardigan, red skirt, shoes Modern Miss, neck piece Lucy Noone.  Rachel wears: Gillet, pant, bondage wooden neck piece Grace Averis. mesh top Modern Miss, shoes & bow Stylist. 
FINAL:Laura wears: Sundance top & Sundance layer playsuit Margot ReiderNecklace Underground Sundae & shoes from Modern miss Vintage clothing Eyewear Grace Averis
Rachel wears: Contrast playsuit & Ritual shirt dress Margot Reider. necklace Underground Sundae Eyewear Grace Averis

CREDITS
Photos: Lucy Fulford (Lucyfulford.co.nz)
Styling: Hana Aoake
Featuring: Rachel Barton & Laura Aitkinson.
Shot in Waikouaiti for Marrow magazine (marrowmagazine.blospot.com)    

U N D O N E for MARROW

Infused by soft textural romanticism and punctuated by strong, structured tailoring, Dunedin label U N D O N E‘s A/W 2012 Dream within a dream collection is a delicate balance between two different codes of aesthetics; hard and soft.

This interplay best represents the two contrasting strengths of U N D O N E designers Rachel Webb and Elise Barnes. Both are graduates from the Otago Polytechnic’s fashion design program. U N D O N E is based in their small studio in a 110 year old historic building on Bond St, which also houses the Salisbury boutique. The idea for creating a label began when both designers were in their second year of study and placed in the same knitwear manufacturers. This placement allowed Webb and Barnes to create samples and experiment to see how their different design aesthetics worked together. U N D O N E is founded on the designers’ dissimilar design aesthetics. The name of the label refers to their process of undoing their individual design concepts and then reworking them into a collaborative design. The label was launched in a WWII bunker beneath their studio in the Salisbury boutique. The launch also featured work by sculptor Renee Hope and photographer, James Stringer. The title of the collection Dream within a dream is taken from a poem of the same name by Edgar Allan Poe. The collection represents the essence of romanticism; contradictory, hard, yet soft. Much in the same way that the two designers are complete opposites..


Romanticism validated strong emotions as a source of aesthetic experience, placing an emphasis upon emotions ranging from horror, terror and awe. These sensations were previously unexplored in any artistic movement and were extracted from the experience of the sublime, especially in the face of untamed, picturesque landscapes. This is particularly evident in paintings, such as Joseph Mallord William Turner’sDunstanburgh Castle, Northumberland (1799). The visceral sublimity of the grumbling Otago landscape undoubtedly contributed to the creation of the playfully dipped hems and the bone-like presence of reworked vintage leather jackets. Indeed when such opposites are combined, it creates a tactile sense of symmetry, similar to that of the ruggedly untamed Otago Peninsula. The combination of both androgyny and femininity is a staple component of U N D O N E‘s design aesthetic. This feature is apparent throughout Dream within a dream and within their Bespoke collection. They are also strongly committed to keeping all aspects of design and manufacture in New Zealand. In the future, they would love to boast an international market, whilst sustaining a strong New Zealand following is of the utmost importance to both designers. U N D O N E is currently working on their upcoming summer collection, which will be showed at this year’s iD fashion week in Dunedin.

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U N D O N E is stocked at Palm Boutique (Nelson), Slick Willys (Dunedin), Carlson (Auckland, Wellington).

CREDITS

PHOTOS: LUCY FULFORD (www.lucyfulford.co.nz)
STYLING: HANA AOAKE (bellaandmadeline.blogspot.com)
MAKE UP: RACHEL WEBB
CLOTHES: UNDONE
JEWELLERY: LUCY NOONE (LUCYNOONE@GMAIL.COM)

FEATURING: ISOBEL TERPSTRA