Your work has a very contemporary – almost futuristic – sculptural aesthetic, though you’ve been known to work with quite traditional practices, such as millinery. How do you see the relationship between new and old playing out in your work?
In an industry that’s constantly re-appropriated, I think the more history or tradition you reference, the stronger and more progressive your vision will be.
As an emerging designer, do you feel there are many opportunities to sustain a design practice in Queensland and Australia?
Yes I do, but in saying so; it’s a hard path, it takes the right timing, the right connections and also a hint of alchemy to make it all work.
Tell us how you came to be interested in fashion…
I knew I wanted to be a jeweller when I was seven. I was living in Papua New Guinea and I have a memory of making a collection of rings – the same feeling I had then is the same I have today, and for some reason, deep down, I knew my path would be fashion orientated.
Where do you look for inspiration on matters of style?
Art and artists – historical fashion illustrators particularly – Erte, Mucha etc
What is your most treasured dress-related object or memory?
I wear a ring everyday that I made about a decade ago when I was in my second year as an apprentice jeweller.
Give us three words, people or places you associate with Queensland fashion…
GoMA, James Street, and yellow.
Is there such a thing as a distinct Queensland style?
Queensland’s style is developing, as is its growing reputation for world-class design.
Published in Issue 1, on August 27, 2013.