RMIT School of Fashion and Textiles

STUDENTS

• 

  Hannah Ayerst

  ‘Gurevitch’ examines the contemporary world through the lens of The Sacred and The Profane, while exploring the unity of their contradictions. Embracing silhouette and form, these garments become vehicles for sensorial experiences, storytelling, and ritual participation.

• 

  Jedda Bahloo

  ‘The Isle of Passé’ is a textile wasteland, left behind by the widespread environmental destruction of contemporary fashion production cycles. In this speculative collection, waste is a valuable commodity and trends are reimagined. Each material-led garment transforms secondhand scraps into new textiles, their forms determined by availability and reinforced by mending and repurposing techniques.

• 

  Helena Buchegger

  Delving into the opulence of Elizabethan-era fashion, ‘Rococo Decor’ merges historical aesthetics with contemporary fashion techniques. Helena re-works Rococo decorations and interior textiles such as curtains, lamps, bedsheets, pillows, and fixtures to reflect this vision while maintaining a strong commitment to sustainability.

• 

  Cat Dowden

  ‘PLAY magazine’ has grown out of concern with thoughtless, mass consumption practices, utilising play, confusion and humor as means to dislodge wearers from the assumed passive role with their products. The collection serves as an avenue through which a wearer, without sewing skills, can become a maker and designer, deepening understanding, relationship and respect of the garments they inhabit.

• 

  Helena Fleerackers

  In ‘I forgot how to fit into my own shoes’, fashion becomes a means to keep in touch with one’s self over the years. Made entirely from pre-loved clothing, Helena’s reworked garments explore what it means to outgrow the past, grappling with feelings of nostalgia and disconnection in relation to suburban youth.

• 

  

  Alexandra Groves

  Driven by the desire to create future heirlooms, this collection reinterprets luxury and elegance through the language of knitwear. A tactile exploration of material is achieved through sustainable hand-processes to reflect the intimate, embodied experience of how we wear and perceive clothing.

• 

  

  Rubee Hay

  ‘Broken body, silly little girl’ is an introspection on vulnerability and protection. At once a little too small and a little too big, these garments represent a little girl shielding herself from the world in response to her own self-aware fragility. Each design holds within it a narrative, reflecting a belief that the way we talk about garments influences how we wear and care for them.

  Jewellery by Picassa Barata.

• 

  Laura Heron

  ‘Dressing Room’ explores the boundaries of wearability through oversized shapes informed by furniture design, sculpture, and industrial packaging. Translating cubes and rectangular prisms into fabric, each garment expands the proportions of the brown paper bag to fit the human figure. Added inspiration is sourced from the Bauhaus and De Stijl movements.

• 

  Amelia Hughes

  ‘Widdershins’ is a reference to an alternative force that historically alludes to acts of witchcraft. The collection explores a space of body inclusivity through pleating techniques that displace the rigidity of traditional feminine evening wear. It draws upon the power of natural forms, organically sourced hues and slow design processes.

• 

  Matthew Buxton Lewis

  Drawing on the physical connections created by fashion, ‘Diva Biscuit’ explores garment fastenings as a doorway to more diverse, intuitive, and exaggerated design propositions. These modular designs play with elements of camp and cringe aesthetics through the lens of pure freedom.

  Footwear by Matea Gluščević.

• 

  Shan Li

  ‘Skin’ explores the sensory relationship between the body and textiles. Unconventional materials such as PVC and paper are used to reframe the body, while the body itself becomes a medium to recontextualise those materials for wearability. In this collection, clothing becomes a second layer of skin.

  In collaboration with Meiqi Huang.

• 

  Dylan Negrine

  ‘Devotus 23’ is a personal interpretation of the objective notion of God within our contemporary society. Using hypermodern techniques inspired by sports and athleticwear, the collection subverts archaic processes commonly associated with liturgical vestments. Its goal is to revitalise the relevance of devotion in present cultural systems.

• 

  Moira Rodriguez

  ‘Undress’ aims to nurture connections to the tangible world by finding meaning in the routine act of undressing. This transitory state between garments and the self inspires a deeper understanding of the body’s organic and mundane movements, informing expressive yet functional silhouettes.

  Jewellery collaboration with Sable Jewellery

• 

  Judith Sharkey

  ‘Labradorescence’ began by alchemising properties of its namesake crystal, labradorite. Led by themes of imperfection and revelation through close inspection, the collection transforms discarded and damaged clothing into evolved garment designs. The imperfections of these foundational pieces are reimagined into new configurations, in turn revealing their lasting potential.

• 

  Oliver Sinclair

  Drawing on the designer’s upbringing in the Pacific, this collection is an ode to the endless creativity of women. Garments mirror a youthful spirit and incorporate aspects of Fijian craftsmanship as an act of ethical, meaningful design. Found materials reflect the art of storytelling, weaving history-rich fabrics and memories into a new narrative.

  Traditional Fijian Weaving by Leba Soqilo

• 

  Poppy Somers

  ‘She’ll Be Right’ is a reflection on our relationship with place through the use of colonial Australian iconography such as barbed wire, rust and wool. Australian-made materials and upcycled garments marry holistic fashion practices with a hint of irony and references to Australia’s economic history.

• 

  Christina Suntovski

  ‘Dressing Dance’ observes the relationship between history, materiality, and the human existence within archival dance performance. It’s inspired by the ornamentation and hand-crafted traditions of Macedonian dance costumes. This exploration of costume and its engagement with the body is deeply rooted in ethnic realism and European folkloric nostalgia, prioritising ethically-produced wool and traditional crochet techniques.

• 

  Felicia Tiktikakis

  ‘Οικογένεια’ recreates compelling narratives of childhood nostalgia through close interactions with materials from family archives, including ’80s swimsuits, pool inflatables, and towels. Each piece is imbued with sentimental meanings and memories, preserving a connection to the past.

• 

  

  Phuc Ung

  ‘I’LL NEVER BE AS GOOD AS HUSSEIN’ is a parody of Hussein Chalayan’s 2007 Spring/Summer show, where garments moved of their own accord. Using a fully digital development process, Phuc’s pieces are mechanised to fall apart. All patterns will be published online in an open-sourced model, completing this subversive strategy to address the role of technology in sustainable practice.

• 

  Qinxuan Wu

  Drawing on themes of marital misogyny, ‘All At Once’ reflects the division of women’s identities into the characters of Saint and Slut. These objectifying stereotypes are confused and blurred across the collection, breaking the lines of externally imposed categories. Textiles are built from the ground up, created and embellished using a combination of 3D printing, bio-crystals, and sculpture-like frozen draping.