A social enterprise started by a father and son in 1998, the gallery is committed to fostering the growth and encouragement of young artists. “The idea is based around providing cheaper and affordable studio space for emerging and mid-career artists, as well as the underlying value of social justice, creativity and the search for meaning,” says Peter Breen, the director and chairman of Jugglers.

Many creative types have found succor in the spaces provided by Jugglers, including artists, painters, musicians, composers and sculptors. The vast range of creators are welcomed in the spaces provided, as they align with Breen’s belief that creativity is essential to both the soul and society.

Jugglers is located in a two story building. The lower exhibition space is equipped with a bar and office. Upstairs there are additional exhibition spaces, storage rooms, and studio spaces for artists to rent.

The “organic” feel reinforces the importance Jugglers places on nurturing the creative core. Free from pretentious luxury, it exudes a strong passion and appreciation for the reasons behind creativity, and the importance of society’s understanding, or at least, effort to understand the artwork.

Jugglers is giving to Brisbane is history, context and the potential for future reflection. Like many famous artists, in famous cities, the need for a space dedicated for artistic pursuits is always needed.

 It would be easy to glamorize Breen’s life; the constant dialogue with artists, the abundance of art exhibitions and late nights. But the unrefined experience felt at Jugglers is much more focused on the importance of art in order for both individuals and societies to function. “One of the things we put on the bottom of our invoices is that ‘Art is the nerve centre of the society’. It’s the art that is telling us where we are at. It’s a non-negotiable,” Breen says.  

An interesting aspect of Jugglers is its emphasis on graffiti art. Complete with an alleyway and patio garden the space offers a hidden sanctuary. Lifting the black garage door takes you to a colourful and expressive wonderland of graffiti art. An overlooked art form, and often considered to be a nuisance, Breen says merit and creativity is seen in this self-expression thus he aims to provide a safe place for this creativity to happen. “We believe that people attempting to do art, with whatever medium on whatever canvas, should be given a go. So we are validating the art form and we are validating or legitimizing the medium. From a social justice point of view, we are providing a safe place where people can come and develop their arts practice. It’s usually 99 percent male between the ages of 15 and 30,” Breen says.

On an unusually bleak Brisbane morning, the alleyway is a space for a romantic gesture. Playing host to its first wedding, the alleyway and back terrace of Jugglers is transformed with walls covered in ‘Lux loves Tasmin’. While garbage bags full of empty spray paint cans and the fresh fumes were enough to make one giddy, it was the enabling of this self expression; the joining of two passions, creativity through art, and love, which could make even the most high brow art lover excited about the Brisbane art scene.

While the drawing of impressive numbers to GoMA and other popular commercial art galleries exhibitions is a great positive for the cultural scene of Brisbane, the encouragement of emerging and mid career artists, like that given at Jugglers, is vital.

Unfortunately, Breen says many of the exhibitions have small turnouts, often only filled with a handful of family and friends, and some not even producing a sale. Although sales are often not the main focus of the exhibit, it is important for the artist to sell in order to continue their work.

Over the past 10 years, 800 artists have been exhibited at Jugglers; an impressive figure that has certainly contributed to the Brisbane and Australian art scene. This is significant considering Jugglers is run based on donations and the hard work put in by Breen and fellow staff members.

While it has expanded over the years to include four studio spaces, Jugglers has still faced hard times, with the inability to afford their staff. However, recent growth trends in Brisbane for Artist Run Initiatives and independent galleries could contribute to further interest in Jugglers. “The population of Brisbane is far more interested in the arts. People are hanging work in coffee shops and clothing shops. That kind of thing, you can’t keep up with it. I think it’s exciting,” Breen says.

For Brisbane folk wanting to expand their art collection, Jugglers would be the ideal gallery to visit, with works being priced at the lower end of the market, ranging from $50 to $1,000.

While Breen’s commitment to Jugglers seems impressive, the passion he speaks with and his involvement with art indicates, like the artists, Breeb finds harmony in allowing others to express themselves creatively. “I’m privileged to be involved, because it is life giving,” he says.

A.L.A.S., an acronym of All Lights All Shadows, is a sleepwear label which has been under production for a year now. In a fast paced fashion world we rarely think about where the clothes on our back come from and how they were produced. A.L.A.S is designed by two Australian’s Kelly Elkin and Betony Dircks who always think about the ethics and sustainability of clothes. The duo recently launched their sleepwear label A.L.A.S. which is 100% sustainable, socially conscious and environmentally friendly in material and production.

Both Elkin and Dircks were brought up in the countryside and have always been environmentally conscious. They’ve been co-designing since studying a Bachelor of Fashion Design together at the Queensland University of Technology (QUT). Their decision to produce ethical and sustainable designs was founded during their years at QUT where they discovered parts of the industry that they did not agree with. Differing from other students, they had a desire to know the source of their material and how it was produced. They were curious to find materials which came from an eco-friendly source and were produced in a way positive to people and the environment. Sharing the same view on ethical fashion the girls decided to pair up and design together. They chose to source material from overseas which was organic and used different production methods, like dying techniques, to produce their collections.

When Elkin and Dircks graduated they received a designer’s position in an ethically conscious label in London and were able to expand on their knowledge and discover what they had been searching for. Elkin described it as the knowledge and ability to create a viable label that considers those who makes it and the environment.

The online site for A.L.A.S. launched October and Elkin said they felt like all their hard work had finally paid off. A.L.A.S. is based around the idea of night and day, sleeping awaking and the journey one takes. The girls take inspiration from nature and develop prints and inspired simple, graceful designs.

They choose to source organic material which doesn’t have chemicals used in its production stage. Their printing and dying stage doesn’t use AZOs and formaldehyde chemicals which are environmentally toxic. All packaging, swing tags and cards are made from recycled materials. Their designs are sewn in India where they source their organic cotton. The material is spun and dyed in accordance with the Fairtrade accreditations, there are no child labourers involved with the production and each worker is paid fairly.

Aside from their lives as designers both Elkin and Dircks try and lead environmentally conscious lives. They admit that it’s hard to live a fully sustainable life because of high costs of sustainable living in the opportunity of eco-friendly options available today. “It is becoming increasingly easier over time as more eco options are made available and whenever there is an eco-option we always take it,” Elkin and Dircks say. The duo try to live environmentally consciously, frequently riding around the city on bicycles instead of taking buses or cars, drink fair-trade coffee and buy organic produce. Elkin and Dircks are also avid op-shoppers. “We believe that with little steps we can all contribute to a bigger global movement of awareness and respect,” says Elkin.

So far in their fashion journey the duo have three pivotal moments to date. The first occurred when they travelled to London on a business trip and were finally recognised as international designers. “Being recognised on an international level was very flattering,” Elkin says. In August 2011 they won the PURE Spirit award, dedicated to young and progressive fashion at the United Kingdom based Ethical Fashion Forum’s Innovation Awards. In October this year their online site for A.L.A.S. opened.

Getting into sustainable fashion is not easy or inexpensive but it is becoming a more recognised part of the fashion industry. Sustainable clothes are more expensive than other designs because of process the creation requires . New designers emerge from QUT Elkin has advice for those considering entering into sustainable and ethical designing – do your research. “A good knowledge base is necessary as you need to know where and how your products are being produced,” she says. Sourcing eco-friendly material and produce ethically is hard, time consuming and costly, but they believe it’s worthwhile to help the environment.

Elkin and Dircks have noticed a rise in recent years of the number of environmentally conscious designers and consumers in Australia. They admire labels like Gorman, Material By Product and Bhalo (all Australian brands) who care about where their products come from and the environmental impact of their designs. Their respect is based on those labels level of ingenuity in design and their dedication to improving the ethical side of fashion.

The aim for Elkin and Dircks sleepwear range is to provide customers with comfort, style and peace of mind. Check out their website http://alasthelabel.com/ which contains more details on their ethics and designs. There are two stockists in Brisbane for A.L.A.S. at We Live Like This in Paddington and Lavish Essentials in Woolloongabba.

Photographs provided by A.L.A.S

ANDREW THOMSON – GUITARIST/THE MEDICS

Describe your personal style in 5 words:
Whatever I feel like wearing.

What is your typical on-stage attire?
A shirt you probably couldn’t find in a usual shop. Nudies and Vans, most of the time. I get my shirts from op-shops.

What is the one item of clothing you can’t live without?
At the moment it’s my Nudies. They just feel like my second skin.

If you had to raid a famous musicians wardrobe who would it be and why?
Rod Stewart because he would have so much great vintage clothing and accessories to choose from.

DANIEL KLUG – LEAD SINGER/VASY MOLLO

Describe your personal style in 5 words:
Brother’s, father’s, grandfather’s…rarely mine.

What is your typical on-stage attire?
Skinny jeans, tshirt and a button up… then I just hope it all goes together!

What is the one item of clothing you can’t live without?
I’ve got this brown suede jacket that used to belong to my Opa. It’s the warmest thing I own, and saves me during those long, cold Brisbane nights.

If you had to raid a famous musicians wardrobe who would it be and why?
Julian Casablancas because he is honestly the coolest person in the world by far. It’s a fact. [He’s in] The Strokes and has a killer solo project. You can’t get any cooler than that.

ANDREW STONE – KEYBOARDIST/MONTPELIER

Describe your personal style in 5 words:
Simple, classic, trying but not.

What is your typical on-stage attire?
I have to be comfortable on stage, so I either wear black or grey skinnies and a plain blue, white or black tee, or a plaid shirt and my black leather boots that I got in New York. I rarely stray from this, except for a jacket or some accessory or something.

What is the one item of clothing you can’t live without?
My grey skinnies. Even though they have a massive hole in them I wear them all the time. The hole covers my entire knee. And then there’s one in the crotch from the time I had to slide down a pole, but it’s not as big. I was locked out of the house on the veranda and couldn’t get back in, so naturally I had to slide down a pole.

If you had to raid a famous musicians wardrobe who would it be and why?
Jimi Hendrix because he had all this badass flower power stuff when it was cool to have flower power stuff and he just didn’t care at all. He was around in the 60s when hipsters were actual hippies. It was crazy stuff, but probably wouldn’t suit me at all.

ADAM SCOTT – KEYBOARDIST/YOUNG MEN DEAD

Describe your personal style in 5 words:
Always over or under dressed.

What is your typical on-stage attire?
More laid-back than my normal attire. The more casual I’m dressed, the more relaxed I am about the show.

What is the one item of clothing you can’t live without?
Clean undies.

If you had to raid a famous musicians wardrobe who would it be and why?
Noel Fielding. No matter what trends hit over the next 50 years, I’d be set.

JACK ALCOCK – KEYBOARDIST/CAMELS IN CROATIA

Describe your personal style in 5 words:
Formal, 60s, dark, contrast, versatile.

What is your typical on-stage attire?
A formal, sharp-toed black shoe, faded skinny jeans and an old collared shirt (usually of op shop/dad’s closet origins). Also a jacket, which I will discard while on stage but put back on immediately after in order to hide my disgusting stage sweat.

What is the one item of clothing you can’t live without?
The aforementioned formal, sharp-toed black shoe. Even wearing them with a tired t-shirt and jeans combo can pull it all together and make it look “work ready”.

If you had to raid a famous musicians wardrobe who would it be and why?
Jack White of The White Stripes because he is the master of ballroom versus drug addict attire.

Fashion public relations is a career path that has taken off with great speed and media coverage over the past few years. Almost everywhere you look you can find a boutique agency representing the latest and greatest in the fashion world from Kelly Cutrone’s business in New York to the Sweaty Betty girls in Sydney. Currently the Brisbane PR scene is no different from these big players. But with all these new agencies popping up, how are clients to choose the most appropriate representation? Are qualifications or life experience more helpful as credentials?

Recently the annual Young Emerging Designers Party was held in Brisbane’s State Library. An event that celebrates and launches new designers with high potential, the 2011 night was considered a success by all with numerous local celebrities attending, amazing sponsorships provided as well as coverage from the prestigious Vogue Australia website.

What was interesting about the triumph of the night however was the company who organized it. Felix&Slink are a Brisbane based company who focus on advertising, events, editorial and public relations. Their point of difference interestingly enough, is that all members of the team are aged below 23 and are yet to receive university qualifications. Their young age was integral to the party’s success as it meant they shared and understood their peers’ needs and thus were able to cater for them. Talking to Felix&Slink head of public relations Elyse Goyen about the qualifications conundrum, she believes that instead of a university degree their “youth is what makes F&S work. Our client’s love our fresh take on marketing, PR and communications. We always bring something new to the table”.

On the other side of the debate is Queensland University of Technology lecturer and industry expert Anne Lane, who has been in the public relations industry for eons. She sympathises with the situation students are in but believes earning a degree is the best way to get into the industry. “Having qualifications is vital. When I came back to Australia after working in the UK for 20 years, I couldn’t get a job in PR because I had no qualifications in the field,” she says. “All the contacts I had and all the experience couldn’t get me over the doorstep with any PR agencies without that bit of paper.”

Lane suggests that the best compromise PR students can make is to study whilst also partaking in internships. “The smart student will be looking ahead and finding ways to equip themselves with as much work experience as possible, either for study credit (like in an internship unit) or by getting themselves out there and sorting out something appropriate and relevant as a volunteer.”

Someone who followed this traditional path through to success is Miann Scanlan, who graduated from QUT in July 2011 and has already achieved employment in Sydney as in-house PR representation for fashion label Kirrily Johnston. Scanlan decided to conclude her studies before searching for work; a decision she says has paid off. “Having official university qualifications certainly assisted in securing me my current job. I don’t believe I would have been successful without them.”

But at the end of the day everyone has his or her own career path to follow. As with every aspect of fashion, there’s no predicting what could happen which thus is also true for the public relations world. So whether you spend your time earning qualifications or gaining life experience, all you can do is work hard, look good, and see where it takes you.

Photography – Elisabeth Willis

Styling – Hannah O’Callaghan

Makeup-Up – Amanda Reid at Arc Creative

Hair – Tahnee Higgins

Model – Anna Stretton

Tension between these two disparate groups, traditional graffiti crews and modern street art proponents has begun boiling over in cities across the world. Some graffiti artists have felt slighted by the emergence of street art and particularly the perceived disrespect of street artists for their graffiti roots. Street art stencils and wheatpasting over previous graffiti works have been met with retribution and retaliation by graffiti groups.

This conflict and disunity within the street art community is only compounded by the threat of local governments in their attacks on public art. This has been evident in our own city of Brisbane as publicly funded street artworks such as those by world-renowned Australian artist Anthony Lister were destroyed by overzealous council cleanup crews only days after completion. Whilst the protection of private property should always be considered this should be weighed against the cultural footprint that street art can lend to a city. One only needs to look as far as Melbourne to see a vibrant street art scene, which has only served to enhance the cities reputation as a cultural hub.

Brisbane is home to scores of talented artists with few means or facilities to showcase their skills. If traditional means of exhibition and expression cannot be found then perhaps the only option for some is to turn to the streets. Perhaps local authorities should take heed of this opportunity to sanction and legitimize street artworks whilst simultaneously encouraging the cultural profile of our city.

Photography by Tanya Wakeley

Travel is one of those things in life that literally opens up our ears, eyes, heart and soul to an abundance of worldly experience. Some people write a diary to capture their adventure in the written form, others collect badges or postcards of the destinations they’ve been to. Nevertheless there’s something truly special about the things we collect along the way. After all, at the end of the trip when you’re back on home soil, all that is left are your memories, photographs and of course, those wonderful trinkets.

Jennifer Cooper, On Hold Professionals

Bought in Delhi, India over 36 years ago, Jennifer Cooper spotted this beautiful pendant and smooth woven chain from a silverware jeweller. Days later, the then 18-year-old found out the necklace actually represented fertility; but only if she wished to have a baby, would the power of the necklace come true. Today, Jennifer’s daughter wears the necklace almost daily.

Maxine Balzat, Avid Globetrotter

Maxine Balzat spotted this quirky little brooch at a market, tucked away in the backstreets of Prague. On her first visit to the market she regretfully didn’t purchase anything. It took her and her girlfriends two days to relocate the market and find the brooch; which she considers one of her favourite things she’s found during her travels.

Dani Maia, Model/Actress

Made from Brazilian Amazonian seeds, this necklace was given to Dani Maia by her father, who travelled to the north of Brazil 14 years ago. After seeing the piece hanging by the roadside, he wanted to purchase it. Not realising he needed permission from the tribes people to enter, he was captured and held at spear point for trespassing. The misunderstanding was finally resolved,  he was released and allowed to buy the necklace. This incredible tale is what makes this one of Dani’s most treasured pieces.

Sasha Raj, wife and mother of two

This lotus seedpod holds memories of a confluence adventure Sasha Raj went on six years ago with her brother and friends to the Hubei Province in Southern China.  Their trek to the third point was particularly memorable to Sasha as their taxi driver (bewildered by their quest) decided to join in. Completing the journey by foot, they reached a hill overlooking a beautiful valley of lotus and rice paddy fields. The taxi driver picked several lotus pods for the group. Her pod is a replica that she bought in a market, as Sasha knew she could not take the real pod back home to Australia.

Karen Reyment, Author of Foodies Guide to Brisbane and freelance food and travel writer

This stone was collected from an old farmhouse in Northern Ireland, where Karen Reyments’ mother lived during the war. Karen, her mother, husband and son visited the house nine years ago. While touring the house, they came across a collapsed stone wall in the kitchen, where Karen’s grandmother used to boil big pots of water. Karen collected four stones from the rubble to take back home. Today, the stone sits on her windowsill so she can see it every day.  The stone reminds Karen of her late mother and the beautiful country farmhouse.

Illustrations by Isabelle McGreevy

In these videos Steph will teach you to:

- Hem
- Make a bag out of scrap material
- Resize an over-sized t-shirt
- Fringe a singlet

NOTE: for all sewing, make sure you sew 3 or 4 stitches and then reverse and go over them again. This is called a backstitch and will ensure that the stitching will not come undone.

Video one: The Hemming way

Click here for part two “The Rags to Bags’

Never underestimate the power of a shorter hemline to transform a garment. Altering a hemline can be a quick and easy way to make an outfit go from old to bold. This video will demonstrate on a skirt but once you know how to hem you can use it for dresses and shirts too. Things you will need:

1. Item of clothing you will be hemming
2. Iron
3. Tape measure
4. Pins
5. Sewing machine

Step one:

Wear the item of clothing you wish to hem and mark with pins the length at which you will sew the new hem.

Step two:

Measure all around the skirt and pin.

Step three:

Iron down the folded hem.

Step four:

Take the outside of the hem and fold it back on itself and flip the inside of the hem out so you can see it.

Step five:

Choose a standard blind hem stitch and begin to sew. Make sure the little zigzags will catch onto the edge of the fabric while the big zigzags will catch onto the edge of the folded fabric.

Step six:

Iron the hem once more to finish.

These videos are the perfect way to show the potential your clothes have. Let these tips and tricks get your creative mind cogs spinning and start thinking outside the box when it comes to fashion. Who says a new outfit means you have to buy new clothes?

Videos by Annalise Tromans & Esther Loke

Makeup Arist – Melissa Rasmussen

Hair Stylist – Emma Carey

Model – Philippa Kane

In days gone by, a tailor-made suit was often a sign of wealth and a common signifier of a first class man. It was synonymous with crime gangs like the Mafia and smooth operators like a character out of Boardwalk Empire or Underbelly Razor. It was a statement, a warning, a style; and still is today but it often comes with a hefty price tag attached.

Today technology has enabled the production of large quantities of suits in multiple styles and sizes whilst maintaining a high level of quality. So the average man – the type who doesn’t know the difference between Prada and Ralph Lauren – can still look as suave as Gossip Girl heartthrob Chuck Bass. Simon Crompton, menswear journalist and founder of the popular UK blog Permanent Style, says a well-fitting suit can be extremely flattering and is always worth investing in, but men often don’t know where to start and are often ignorant when it comes to what to look for.

“Ready-to-wear is underused, made to measure is ignored and bespoke is misunderstood,” said Crompton. “For the most important times in your life, it gives you and your attire a sense of occasion. If worn every day in the office, it will become a stamp of quiet authority that stays with you through the week, and, with others it can affect how they see you.”

If you’re feeling overwhelmed or the thought of cravats, lapels and coloured pocket squares gives you a headache, stress less by using a few pointers to help you when buying off-the-rack.

1. First stop: department store

The first point of call when looking to purchase a suit is to scope out a department store. Myer and David Jones are your best bet. This way you’ll be able to try and test a variety of brands instead of just one or two. Know what style of suit you’re looking for and when doing a hot lap of the suit section grab anything that you think might work. Keep prices in mind and whether garments retail as suit separates or as a whole suit. Once you’ve culled the collection down to a few favourites, hit the change room and seek advice from a sales person who knows what they’re talking about. But beware of the sly sales techniques like up selling and pushy demeanours. You’re the one that’s going to wear the suit so you have to feel comfortable.

2. Size is key

It sounds obvious but it’s easy to get it wrong. How a suit fits to your body is the most vital component of getting it right. The suit’s shoulders should clinch yours. TIP: If you stand sideways against a wall and the suit shoulder touches the wall before yours does, go down a size. Make sure the suit hugs your chest and can be easily buttoned up. Move around and be sure the suit doesn’t restrict you from doing everyday things. Depending on your style, a normal suit’s length should allow you to cup your fingers under the sides of your suit jacket when your arms are hanging by your side.

3. Cuts and Styles

Be aware of your body shape and how you want your suit to fit. The amount of buttons is key to determine a suit style. The two-button suit is your safest bet and this season they’re slim, streamlined and modern. It will not only make you look on par with the current trend, this style can transcend the seasons and keep you looking classy for years to come. The notch lapel comes with pretty much any standard style suit and always cuts a dashing figure. But if you want to tap into old-school elegance go for a peak lapel.

4. Vests, pleats, ties and cufflinks

When it comes to added extras think about whether these match the occasion and how these can add or detract from your suit. Vests look cool at a formal affair but there’s really no need to wear them on a day-to-day basis. Pleats are okay but flat-front pants are more popular. Just see what suits you best. Ties and bowties are interchangeable and look good on any standard suit. But bowties are the only tie to wear with a tuxedo. Cufflinks can add personality and can be a fun way to show your business or even quirky side. Stick to plain colours for work and add some colour for a wedding or a night time function.

5. Tailor, Tailor, Tailor

When it comes to ready-to-wear of course not every style or cut of suit will look good on you. But as long as you have a suit that fits and are happy with the overall feel, a tailor can customise the suit to your body. Lengths of sleeves can be altered and narrowed, jackets can be tapered and pants can be taken in, let out or even hemmed. So your finished product will have you looking sharp and feeling schmick without burning a hole in your wallet.

For more information on finding your perfect fit head on into David Jones or Myer to find your well fitted suit.

Boasting a soft, unassuming and relaxed aesthetic, this bedroom belonging to Elle Brook Raison, effortlessly mirrors the young student’s sensibility. It is a bedroom enriched with clean lines and crisp white furnishings, juxtaposed with sprinkles of colour and intricate detail that simultaneously add depth and texture to the quaint room. While dousing the room in a rich scent infused with notes of orchid, rose, musk and blood orange, a Glasshouse candle warmly flickers and illuminates even in the daylight. Raison’s room is a true embodiment of her style and character. Be it the collection of coffee table tomes standing pride of place above the study nook, or the faux-fur throw draped over the foot of the bed, or even the fresh lilies displayed on the bedside table alongside a bottle of Chanel No.5 and Chloe; this room exudes warmth and inspires intrigue. A true experience that enlightens every sense.

Inviting, endearingly beautiful and rich in colour, Brooke Thompson’s room is undeniably a visual confectionary. Delicate, considered detail and vibrant bursts of fuchsia and crisp light green blossom amongst a sea of lavender and an abundance of natural light that cascades through white wooden shutters. A finely edited collection of trinkets, souvenirs and treasured photos lightly accent the law student’s spacious room, while bookshelves stand brimming with novels, hinting at her literary inclination. Statement jewellery pieces are effortlessly displayed on a dainty dressing table alongside a refined collection of perfumes and a timeless mirrored jewellery box. Somewhat a reoccurring motif, lavender can be found scattered around the room, permeating its confines with soft bouquets of pastel colour that finely accentuate the canvas of light wooden furnishings. The deeper one dives into this captivating room, lashings of intricate detail become more so apparent, evoking a subtle sense of romanticism that emulates Thompson’s classically enriched stylistic sensibility.

Welcoming and homely in terms of its aesthetic appeal, the bedroom belonging to musician Michael Malcolm, in which he shares with his girlfriend, is a cosy and modest space filled with solid wooden furnishings. Atop a fine glass mosaic, Music by Andrew Zuckerman alludes to an inherent artistic awareness and its use as a source of inspiration. Further cementing this student’s passion for music, posters are casually pinned to the wall at his bedside, warmed by the light of a tall lamp where his guitar reclines beneath it. Infusing an unexpected yet undeniably welcome sense of wit and romantic sentiment, pre-loved scrabble letters rescued from a street side rubbish collection are propped above the bed, arranged to spell out the words ‘heartbeat’ and ‘on my mind’. An array of small treasured keepsakes bring life and character to the room, further enriching its disarming charm. Simplistic in nature, Malcolm has created a space that lacks pretention and boasts carefully considered ornament with aplomb.

Be inspired to go on an interior design induced journey of soul searching and self reflection. In the words of British interior designer Abigail Ahern, “when all the diverse elements of your past and present are brought together they tell a story: about you, the lifestyle you lead and the space you call home”. Ponder the space that you call your bedroom and truly embrace all manner of possibility; write your own story. Fashion your bedroom as an honest foundation for which your personal style inclinations can be built upon, developing a seamless synergy between one’s inner and outer self.

Photography by Amber Gerrard-Maxwell

What is your creative background?

All I know is that making beautiful things has always brought me an unsurpassable sense of satisfaction and contentment.

Where does the name of your collection, Sympetalous originate?

Sympetalous is the scientific name for the part of flowers where petals join. The collection is part of my Honours research project which investigates the relationship between 2D and 3D elements of fashion design practice and outcomes. In my design practice I try to maximise the integration between 2D and 3D elements (patterns, garment forms, silhouettes, details, prints, finishes, embellishments, illustrations, photographs, etcetera). Hence, the name Sympetalous refers to the integration or joining element of the collection, as well as referencing the floral theme, as each garment is based on a different botanical illustration.

Which fabrics have you favoured in this collection?

The fabrics are peace silks, which means that the silk worm is allowed to live and emerge as a butterfly, as opposed to conventional silk production where the cocoons are boiled. I have used silk noil, chameuse, pongee (a stiff Chinese fabric similar to dupionni), organza and chiffon. I hand-dyed the silks using natural plant extract dye powders, relating the floral form of dresses to the dye source. I used shibori dye techniques and the relief shapes are from cross-sections of flowers from the botanical illustrations. Shibori is a traditional Japanese technique which involves gathering shapes in the fabric before dyeing. Once the fabric is dyed and dried you have to unpick all the stitches. The sections gathered are left white and everything else is coloured. It’s similar to tie-dye but you have more control over the relief patterns you create. The colour palette is floral – derived from plant extract dyes. However, the colours aren’t pale or “hempy”. There’s yellow, orange, blue, green and pinks.

Is there a particular reason behind the decision to use the fabrics you chose?

In addition to the obvious conceptual links between plant-based dyes and a collection inspired by botanical illustrations, environmental and social ethics are an important part of my design philosophy. Conventional dyes contain toxic products that impact negatively on the environment and health of dye workers. Of course, I do not dismiss all conventionally dyed garments as unsustainable. Natural dyes are simply something that I wanted to explore in this collection. I chose to buy silks from a particular supplier that sources from cottage industry type communities where workers are paid fairly and treated ethically. For me, a garment cannot be truly beautiful and precious unless all elements of its production are also beautiful.

Where is your preferred space to work?

I did most of the work at the Queensland University of Technology fashion studios and I embroider at home in bed watching ABC iView or chatting in the kitchen with housemates and friends.

What are your beloved tools of the trade?

I do love my grading ruler and awl. I can’t live without a good pair of scissors (I’m not a rotary cutter kind of girl). I also can’t really imagine life without my embroidery hoop. When it comes to drawing I tend to do most of my work in Illustrator these days.

Can you tell me a bit about your process for developing a pattern?

It depends on what I’m making. Sometimes I just want to whip something up quickly with a predefined idea of the exact structure. Then I just use traditional pattern making techniques and usually work from a block. However, if I’m working on a more experimental and involved toil I like to create pattern pieces that relate to the form and concept of the garment or collection. The flat pieces should be interesting designs themselves.

I noticed some of your samples in the studio, what techniques do you use when creating your garments?

I’m very particular about finishes and like to do a lot by hand so that they are less visible. I hate over locking and either use French seams or fully line everything. I also find tactile surface treatment really interesting so I experiment with smocking, quilting, embroidery, etcetera.

What was the hardest part about designing this collection?

Moments of loneliness and self-doubt. They were few and far between – I’m not a depressed psycho!

What does this collection tell us about you as a designer?

Sympetalous reflects my patience, dedication, OCD nature, love of and respect for the environment, attention to detail and organic design aesthetic.

Who are your creative icons?

Although I was madly in love with Christian Lacroix throughout my teenage years nowadays my number one idol is Cristóbal Balenciaga.

Do you have any other projects you’d like to start in other mediums?

I’m quite interested in architecture (especially for interiors) and the affect that spaces have on people’s quality of life and the way they interact with others. I suppose this also extends to installation work.

What are your plans for the future?

Move to Paris, find Lacroix and reopen the house. But, seriously, I have no clue. In the near future a Hermès bag would be nice.

Fashion Illustration by Isabelle McGreevy