RMIT School of Fashion and Textiles
RMIT School of Fashion and Textiles
RMIT is globally recognised for developing fashion practitioners with highly-regarded technical, creative and research capabilities.
RMIT’s approach to teaching fashion design seeks to imagine future commercial contexts, create ethical design propositions, and use cross-disciplinary design strategies to drive global and competitive fashion design practices. Graduates create independent and niche practices, work in leading commercial, luxury and emerging contemporary brands, and go on to establish independent and collaborative research practices and enterprises famed for challenging and directional approaches to fashion.
She/Her The collection ‘hmm…must have missed it…' draws attention to elements of human presence and environmental cost in garment production. Through integrated glimpses of body parts, mistakes, notes and waste, this collection shines a light on the unseen and hidden facets of a garment’s lifecycle.
Michael De Souza
He/Him ‘Integration Through Dress’ explores uniforms that exist within different social settings. The development of this capsule collection was influenced by investigation into cultural, religious, traditional and non-traditional work environments. Its focal objective is to create a series of garments that collectively fosters a distinct identity.
She/Her ‘Too Many Clothes’ is a collection that seeks to reuse obsolete clothes and textiles. The hybrid crochet and paper-mache garments act as bouncy vessels, leaking textiles as they move down the runway. As the floor becomes littered with excess, the audience is invited to ponder where our clothes and belongings really go.
She/Her ‘Grass Stains’ looks at native grass varieties in Victoria and how humans interact with plant matter both intentionally and unintentionally. It merges fashion and floral practices, inspired by the linear qualities of tall grasses and a subversion of workwear. Laura considers garment lifecycles by recycling military parachutes and deadstock textiles.
Zhenzhen Hong (Tina)
She/Her ‘Rickoherence’ is a collection that explores how an overload of information and media leads to an unstable, glitching reality. It uses the lens of popular post-modernist TV series ‘Rick and Morty’ by deconstructing its characters. Added inspiration is sourced from cubo-futurism, architecture, mathematics and pop-internet culture.
She/Her 'Portable Space' is a technique based and silhouette-focused project that aims to use the interaction between the body and the garment to create a space. Staying in a space is to assimilate the space to a body, so the clothed body then becomes an architectural element in the process of creating the space.
She/Her ‘Crafting Heritage’ is an exploration of Lakkari’s Korean lineage through the use of Hanbok archetypes and traditional Korean paper. Using the paper’s natural characteristics and manipulating them through handcraft techniques, the collection looks into preservation while posing the question of whether paper fashion is a viable alternative to fast fashion.
She/Her Derived from Heather’s own experience with concepts of westernisation and orientalism, ‘Exotic Affection’ addresses issues of Asian fetishisation and the commodification of racial identity. By confronting problematic hyper-generalisations and stereotypes imbued in Western society through a lense of personal experience and perception, the collection deconstructs themes of displacement and belonging.
He/Him 'Intimate Entropy’ is a collection of garments intended to place value on the mundane or dilapidated by romanticising the material’s past experience with its initial owner. This reclamation process views entropy in a new context, exaggerated through form and layering. Decay is made new again by stitching together alternate pasts to form a new future.
She/Her ‘Somatic Dwelling’ emerges from progressive research into somas (or bodies) in space and the intervention of material matter. Nomadic structures, garment hybrids and soft architectural forms are at the forefront of the collection, paired with a focus on body inclusivity. Elizabeth utilises industrial materials such nylon rip-stop, fly mesh, tarpaulin and hardware.
She/Her Driven by an auto-ethnographic curiosity over the female body, ‘Archaic’ brings attention to other interpretations of feminine dress. Through lingerie-inspired silhouettes; propositions of form, drape, and aptitude, are used to fragment the intangible sensitivities of the feminine form.
She/Her Exploring a permanent state of transition, ‘An Undefined State of Being’ highlights ephemeral nature, the inevitability of change and works in progress. The deconstruction of archetypal garments is used to explore these themes, accentuated by the inclusion of recuperated 'tailored' jackets. This fragmentation is continued by the exposure of internal structures and displacement of signifiers like pockets and lapels interrupted from their conventional states.
She/Her ‘Rapid Shredder’ is an experimental collection that heroes a custom textile made from pre-existing garments. Aiming to rethink the use of these garments in fashion practice, they are physically broken down and felted onto a base cloth. Exposed darts are a mechanism for form, brought to the garment’s exterior and beaded.
She/Her ‘Mars Odyssey’ imagines a future lifestyle on Mars. New spacesuits, wearable oxygen apparatus and life support devices offer alternative methods for outdoor human activities on Mars, as well as avenues for bold individual expression. These pneumatic design prototypes have potential for constant temperature and air storage functions, combining fashion and innovative practicality.
She/Her Emily Smith’s collection ‘Embedded Time Past’ is born from research on emotional durability, exploring techniques for creating meaningful connections through clothing. These techniques include embedded jewellery, printing with the body, handmade elements and Shibori. The intimate nature of lingerie and reclaimed materials are also major reference points.
He/Him Jaxon’s ‘Dark Ecology’ collection explores new ways of existing in the earthly realm through a study of patterns and creation. It dissolves binary notions and barriers between technology, nature, culture and spirit, instead developing garments that are functional for movement, play and experimentation.
He/Him ‘MORPH’ seeks to discover new silhouettes in common design archetypes while promoting gender fluidity and inclusion through the use of humour and vibrancy. Voluminous silhouettes in a relatively dark palette transform into form-fitting garments with bright, ‘distorted argyle’ prints, intended to disassemble social constructs and convey a metaphorical message around revealing one’s ‘true colours’.
She/Her ‘DONNA ANONIMA’ is a series of womenswear garments exploring both the role of the maker and their relationship to their materials, with the goal of discovering new garment-making methodologies. As a collaboration between Lily and an unknown pattern cutter, it reflects the multiple unseen identities that are embodied within garment-making processes.