The Blackmail » Fashion

Unknown Pleasures

tristan — Mon, 31 May 2010 22:05:13 +0000

Words: Laila Sakini Images: Max Doyle

In the world of fashion design establishing a difference whilst retaining accessibility is a coup that is often attempted, yet rarely achieved. So when the creative minds behind the cult label PAM manage to strike gold for a second time with their new womenswear line, you know that something magical is going on. The label Pop! Eyes, beget by Misha Hollenbach and Shauna Toohey, is now running in its second season strong. Inspired by the exotic leisure time pursuits of its creators, and by way of shiny fabrics and sharply tailored finishes, it re-contextualises the PAM fan to a new (fancier) place. To uncover some of the secrets of their success Laila Sakini asked Shauna Toohey to shed some light on the creative process(es) they’ve employed to deliver the goods, twice.

Laila Sakini: One would think that directing PAM, one of the most celebrated fashion/art/book/toy companies in Australia (and beyond), would be both personally fulfilling and time consuming. Why go on excursion from P.A.M with Pop! Eyes?

Shauna Toohey: We have been doing PAM for 10 years. I love designing PAM, it’s always fun but of course there is an aesthetic and feeling which is always definitely ‘PAM’. Pop! Eyes is an avenue to experiment and make more dressy clothes. I absolutely hate to say it because it’s so cliché but I did want to make clothing I wanted to wear. I wanted dress up clothes that had credibility (in the same way PAM does) and that touched on cultural references, interesting documentaries and artistic endeavours.

LS: The Pop! Eyes prints are routinely rich in colour and mood as standalone pieces, (they could be sold as flat garments and would still be cool) at what stage does garment construction/pattern making step in? Are the prints designed for the pieces or vice versa?

ST: It all happens together. But I was definitely trying to make new shapes and a new aesthetic for ‘dressy’ items. I wanted to offer something completely fresh – not a derivative of a current trend. I hope that the pieces will therefore be a bit timeless, and also relevant, and not a rehash of the past. The prints heavily reference tribal cultures, but present them in a modern way, we love the idea of cross referencing cultures, of mixing them, and coming up with something new.

LS: The shapes that Pop! Eyes presents appear as bold statements that play with volume and simultaneously reject and emphasise traditional notions of femininity and the female form. Who is the Pop! Eyes woman/girl?

ST: It’s for women/girls who like to look good but are interested in more than fashion: film, art, music, bikes, pets… They have aesthetic interests: not just for clothing but also for the things they surround themselves with.

LS: Technically there’s a lot of unique detail and cool features in everything you produce. What are your imperatives when designing patterns for Pop! Eyes?

ST: F.R.E.S.H. I want to offer something unique (in the good sense of the word) but still timeless and effortless.

LS: Could you highlight some design achievements from the current season?

ST: No – it feels strange to big note… Sorry – but I am really pleased with how it [all] turned out.

LS: Some might not realise that you are also a writer, an artist, a mum, and one hell of a cook. Being that you have many creative talents at what point did you decide to focus on fashion design and why?

ST: It appealed to me because you could get results quickly (not waiting years to have a building built) and it has a practical application. I couldn’t justify making stuff for my own pleasure so although I was attracted to art, being an artist didn’t suit me. I’ve softened a bit and now I can totally understand the value in making stuff for your own pleasure so I have been dabbling a little in some picture making. I suppose being creative is key, clothing is something I could explore, and also have a practical purpose.

LS: Both PAM and Pop! Eyes are noticeably independent from the rest of the fashion community in Australia, no fashion runway shows etc, which is probably why so many are intrigued by the labels… What are your reasons for remaining detached from ‘the scene’?

ST: It’s not intentional. It’s just that we try to do things for the right reasons and that feel right. We don’t start with a business plan we start with a desire to make stuff and a feeling that the people who will want to see it will find it. Runway shows have never felt right as a way to show what we do. We have done lots of exhibitions and I think we are part of a scene but it’s not a strictly fashion scene and it’s not only Australians or humans for that matter! Plus we aren’t detached, we have our own scene!

LS: Where are you going on the next excursion? What’s the next adventure for the PAM/Pop! Eyes team?

ST: Your guess is as good as mine. It’s an organic process so I think Pop! Eyes will lead us…

I’m taking a break from Pop! Eyes for a season. I still want to continue to make Pop! Eyes but not every season just when all the planets are aligned and the vibe is right. Fashion can be very quick and the schedule is rigid but Pop! Eyes has to dance to it’s own beat. So look out for more offerings in the future. PAM of course can’t stop!, it has a life of its own: more collections, books, music, prints etc!

Pop! Eyes is available at Some Day in Melbourne.

Next story: Vertical Sleep – Josh Petherick

Old World Nostalgia

tristan — Sun, 02 May 2010 23:51:01 +0000

Text: Jill Greig Images: Adrian Mesko

In a field predominantly concerned with innovation and always looking to the future it’s refreshing to know there are still designers around who know that some concepts will never be bettered. TMOD are one such entity, their jewellery lines and scratch cards are reminiscent of a time when we interacted tangibly with the people and objects around us, when user experience counted for more than adhering to tight budgets. Jill Greig catches up with Milenka Osen from TMOD to find out what’s behind their nostalgic offerings.

Jill Greig: You and Georgie went to COFA together. Can you give us a brief history of TMOD?

Milenka Osen: Yeah. We met when we were studying design at COFA, which we finished three or four years ago. We always helped each other, working on each other’s projects. So we just naturally started working together after uni. We got some freelance jobs each and we started helping each other on those. Then we were doing installations for restaurants like the Tilbury Hotel and we both really wanted to do furniture and lighting. Mainly lighting – that’s how we came up with the name Turn Me On Design, because it was about lighting up spaces. So we started designing lighting, but we couldn’t afford to get the moulds made because it was a really expensive starting process.

JG: I can imagine. Then what?

MO: Well we had a little studio garage in Newtown, it had no running water or toilets or anything. But we got this garage and just started trying to design a logo and make stuff to do with the lighting. Then Georgie started fiddling with her charm necklace all the time, which always annoyed me. But from that we came up with the concept to design jewellery and came up with the first range we did, Oh Fiddlesticks. It gave a purpose to fiddling with necklaces, which was interactive games. We started handmaking them at our studio, and then approaching shops and selling the pieces, and that formed a range of jewellery. It was never a plan that we were going to start a jewellery company, but I guess it was something more affordable that we could make ourselves. We started loving it and went from there with the jewellery and everything we did became interactive or creating an experience for the user.

JG: So can I ask you about when you first started out. How difficult was it to establish yourself, to make contacts and find stockists when you’re bringing out your first range?

MO: I guess we didn’t really have the plan to start some big jewellery label, so we were surprised by how easy it was. We actually started at the Finders Keepers Markets, when it used to be Hope Street Markets. The MCA Store approached us there and they were our first stockist. so we were really excited and it gave us the confidence to approach other stores. Then we ended up getting so many orders that we couldn’t actually keep up. Because we were handmaking them each ourselves, we didn’t factor time into the equation when we priced them. We didn’t sleep nights because we’d have to sand layers, varnish them, screw them together. Our hands were bleeding from doing it. We were literally there all night trying to get these orders together. And that’s kind of when for our next range we decided to go to Bali and find a manufacturer and do silver. We learned a lot going to Bali, and we realised that we just couldn’t do it ourselves anymore. I guess because we did get a surprisingly good response. We didn’t have any expectations, it just kind of naturally happened.

JG: That’s really good because obviously you guys have a pretty impressive list of places where your jewellery and other ranges like stationary are stocked. And you’re still in design shops like the MCA, but it’s moved as well into places like Alphaville and The Grand Social and fashion retailers. Were they quick to get on board with the jewellery?

MO: Yeah some of them were. I think we started in Maple in Newtown. I guess it took a bit longer to get those stores. I mean we flew to Melbourne a couple of times to show Fat our range, and then Alphaville took it, which was great. We’ve got Violent Green in Brisbane and Good As Gold in New Zealand. Those kinds of stores have been really loyal and great because they’ve ordered every range consistently. But trying to get the initial meeting with them and showing them your range when they’ve never heard of you is the hardest part because we didn’t have a PR agent or a sales agent, who would usually do all that stuff for you.

JG: So you’ve done it all yourselves.

MO: Yes, we’ve done it all until now. We just got back from Hong Kong where we found a sales agent for Asia and we’ve got one for Japan. And we’ve just had people approach us from Europe and America, so we’re kind of just now taking everything internationally and outside of Australia, New Zealand and Japan, which is where we’ve covered over the last two years.

JG: So how was Hong Kong? What were you guys up to?

MO: Hong Kong was interesting, Georgie got really sick. But we went there because we’re also looking into manufacturing our cards in Hong Kong now.

JG: Is that the scratchie cards or the popup cards?

MO: Probably both. There was a big packaging and paper trade show, which is what we went there for, as well as to find a sales agent and we pretty much achieved both our aims which is good. We haven’t totally decided yet but we got samples of the cards made and they look really good. Basically we’d just been putting them together ourselves at the studio or getting our friends or people we knew – all the cards and the plastic with the sticker and the charm. Because here there’s not one place that you can get the metal charms for the cards and the plastic and everything together and get it packed. So we’re sourcing and making everything in different places.

JG: Which I guess is more expensive and takes more time?

MO: Yeah it’s just the time. Because we did this trade show this year and just picked up 130 new stockists for our cards. And we just couldn’t keep up. I guess we kind of expanded really quickly, which is great, but we don’t want to lose the quality of things, so we’re just trying to find a way to expand it at this rate, which can’t be done at our studio putting cards together ourselves. So that’s why we went to Hong Kong. But then while we were there we found this really great sales agent – and that’s kind of in the making, you know?

JG: Yeah you’re in talks. So obviously at the moment you’re stocked in Singapore, Japan, Hong Kong, New Zealand and Australia and you’re looking to go further. How difficult is it for an Australian designer to break the International market?

MO: I think, I mean we just learnt a lot in Hong Kong, because at the moment we’re really free to do everything on our own timelines and even though obviously our jewellery is fashionable it’s not like fashion where you have to have certain seasons and deliver it to show in fashion week and all these things at certain times. It’s been really flexible. But once you go overseas these agents basically make you fit in with their timelines. So they’ll say, you know you have to have at least four ranges a year, they have to be shown at this time, and production has to be done at this time and I think they’re the things that we’re just considering now because we’ve got an American sales agent that wants things at different times. All the seasons are different. And that’s something that we didn’t really think about before. But I’ve been surprised, I mean I think it’s easy to get overseas, but I guess it’s just finding the right sales agent for your products. There’s so many people doing it and everyone wants exclusivity in a whole country or a whole continent really and then once you sign that away… I think if we were looking for it one or two years ago it would have been hard for us to find someone that actually wanted to take our stuff because Australia’s such a small market and overseas it seems to be so much about pop culture and you really need to get the press and get people wearing your stuff. But no one knows who TMOD is in those countries. So I guess it’s just about finding someone who loves what you do, because our stuff is all about the concepts, it’s not so obvious on a shelf, and we don’t want it just displayed there not in the right context. It’s hard because here we have control, we can see the shops, but there… So I don’t know, I think we’re still in the process, so it’s hard to say. But it’s weird because here we think ‘oh do we want to stock in this shop?’ and we know the shop. But when people (from overseas) email us and say ‘we want to buy this jewellery for our shop, and then their website isn’t up yet and we just don’t know where we’re selling it. We don’t know if that’s a good thing or a bad thing for our brand.

JG: So I guess you guys have got a lot to think about with that, because you’re sort of on the verge of taking the next step. Do you think that you’ve been well received across the countries that you are in now, and you’ve found it relatively easy to get exposure overseas because Australia or specifically Sydney has a reputation for producing good designers?

MO: I guess it’s not that it’s been easy for us, but we’re not trying to rush anything so when things happen we get really excited. We find it easy because we take the opportunities when people approach us to sell our stuff overseas. But I think a lot of people love Australian designers and also there’s a lot of great websites and ways to get our stuff out there. Most of these people haven’t ever seen our products necessarily in real life. Our Japan agent sent us an email and said ‘you know I’m at this shop in Bondi, and I can see your stuff, I’m interested. So it’s not really us contacting people. That’s why it’s good to get your stuff in the right stores and then that’s where a lot of the international people source their things from. So I think it’s been easy for us because we haven’t really had that goal until very recently. We just wanted to get Australia right first.

We did really want to do a trade show this year in New York. But we realised it’s not the best thing to rush everything and we should just do it next year when we get our production and our sampling. I mean we just got back from Hong Kong, and we’re going to Japan in 10 days and we’re doing Finders Keepers Markets this weekend and we’re just starting to wonder where our design time has gone. This is the time we’re usually in our studio designing things and if we put all our energy into trying to sell things overseas it becomes really distracting.

JG: Well you turn into a business instead of designers I guess.

MO: Yeah. And that’s only a recent thing that we’ve got a business manager and started getting people to help us with the business stuff and it started because before we just wanted to design things and not think about those things.

JG: So with your designs, they kind of remind me of toys that I think my granddad might have played with when he was a kid – spinning tops, mazes, the key puzzles. They’re very manual. In the latest range you’ve got wax seals on rings and pendants. It seems very nostalgic. From a designer’s perspective, are you referencing a golden age of design?

MO: Georgie and I are independently inspired by, and we do love nostalgic qualities to design. We’re both obsessed with looking at vintage books and a lot of science books. I think the games started from that initial thing of fiddling, so we looked into old games and puzzles. One of them, the horseshoes (from Smoke and Mirrors) was based on a game Georgie remembered playing with her family when she was young. So I guess that specifically was more nostalgic for her. The charms on the cards was a way of us integrating our jewellery with our stationary. And both of us have a kind of paper and stationary obsession, and we love the seals and signets, so our latest range of jewellery (Lost Secrets) kind of came from that as well. We did a lot of research about concealing secrets and what wax seals were actually used for and through time they’ve been used for so many different things. I’d definitely say we’re inspired by old world objects.

JG: When I looked at the range and saw that it incorporated wax seals I though about how nice it is to receive a letter. I can’t even remember the last time I got a letter in the mail. It’s like a dying art.

MO: That’s what Georgie and I were saying the other day, how no one sends letters anymore. I like how sometimes when our friends see our scratchie cards and say ‘well we wouldn’t usually send a card but because this is something a bit different we want to post it to someone”‘ To me that’s special because I’d much rather receive a card (than an email) and I love writing cards and sending them. I think that’s one sad thing about technology, how everything is on the computer now and it’s not so tactile and personal.

JG: It’s nice to have something tangible.

MO: Yes.

JG: So TMOD has previously collaborated with Andy Uprock on a range of jewellery (Poetry in Braille), and word is you’ve now got something in the works with Kareena Zerefos. Can you tell us a bit about that?

MO: Yes we do – it’s pretty loosely in the works at the moment, but we have sampled a couple of things. It’s going to be a ceramic tea set. We used to share a studio with Kareena and we went to uni at COFA with Kareena as well. We love each other’s aesthetic, so that just kind of happened. She’s doing the illustrating, drawing the forms and doing the 2D side of it, then we’re doing the actual forms. We’re separately really busy with other things, so it’s going be a kind of long-term project. But hopefully by the end of the year we’ll have some samples.

JG: So we won’t expect anything too soon.

MO: No. But we really like working with different people and doing collaborations and we’re getting involved in some other projects at the moment, like there’s ‘Art for Sole’ which is for Ugg Boot Australia. They’re getting all different designers to get a pair of Ugg Boots and do something with it, so we’re in the middle of that project at the moment which is exciting. Then we’re looking to get involved with Creative Sydney in June. The Grand Social is opening a retail store in Darlinghurst, part of that is going to be a gallery space and I think we’re doing one of the first few exhibitions. We really love making things with our hands, so for Finders Keepers this weekend we’re hand scalpelling, making our whole installation out of cardboard for our display. And we really just miss that because a lot of our work now is on the computer, and we wanted to do something artistic as well, without thinking about selling products. So we’re going to do our first exhibition at Edition in June and it’s going to be a paper exhibition, but part of it is going to be mechanical. We’re going to create a whole world out of paper and we’re going to hand scalpel it all! Well that’s the plan at the moment anyway.

JG: So you guys have got a lot coming up.

MO: Yeah we have got a lot coming up. Finders Keepers this weekend, then Japan, then the exhibition and a few other projects. Then we’re going to do the Life and Style tradeshow again in Melbourne this August, which will have our new range of jewellery and our new range of cards, and we’re going to re-release our TMOD puppets.

JG: Beyond that do you think you’ll ever go back to the lighting and furniture you started on?

MO: Yeah we’ve been consistently and slowly doing that across the last two years. So we will release it at some point. We actually came across some new ideas and technologies in Hong Kong. It won’t happen this year, definitely. But we haven’t stopped wanting to do it.

TMOD

Next story: Treasure Island: Daniel Boyd

Heart And Sole

tristan — Fri, 30 Apr 2010 14:09:24 +0000

Text: Adriana Giuffrida Images: Benjamin Lichtenstein

I don’t know why but I always assumed that shoes were never actually handmade by people. I dont know what I thought the process was, I guess I thought there were shoemaking robots churning out these perfect vessels that drive women wild. That was until I heard of Emma the Shoemaker. Emma Shirgwin is a Melbourne based shoemaker who had the clog on high rotation before Chanel knew what hit them. Her designs are comfortable, unique and lustworthy. I chatted to Emma about her journey into making shoes and the trials and tribulations that come with creating such a fascinating product in Australia.

Adriana Giuffrida: Tell us how you began making shoes.

Emma Shirgwin: It started with an idea through a love of shoes, after exploring this I landed at RMIT Dawson street in Melbourne chatting to the teachers about the course, I then went overseas traveling Europe for a year and whilst there I attended a short course at Cordwainers College, which is a reputable course that started many of today’s shoe makers careers. Once I returned I did the course here in Melbourne, but this was only offered two days a week. I was finding that too disjointed, so I then volunteered my time with a shoemaker here called Preston & Zly, where I befriended another shoemaker, who told me about a brilliant two year, full time course in Adelaide, so I decided to pack my life up and move to Adelaide which was the best thing I ever did.

AG: So your journey into making shoes has taken to you from Melbourne to Adelaide and also London, what did each of these courses offer you?

ES: The London course was very short so it gave me an introduction to the basics to see if I really wanted to explore this further, as with the Melbourne course but the Adelaide course was amazing and I use all I was taught there today. This course gave me the confidence to make shoes outside of the classroom independently.

AG: What is the difference between the ‘Lunati’ process that you use to make shoes, and other methods?

ES: It is a comprehensive method for me because with this process the pattern is made to fit the Last (the mould I use to make shoes on) which you match to the particular foot measurements, so for this reason the leather upper moulds easily onto the Last. Also we make a paper pattern first. I am a visual person so I need to see it three dimensionally to fully grasp the design. Other methods are designed to fit the foot measurements, so it does not always fit the Last very well so there is a lot of pulling and tugging for it to fit snug.

AG: I can imagine the finished product of seeing a shoe, must be quite rewarding. What do you find is the most exciting aspect of making shoes?

ES: I love every aspect of the shoemaking, apart from grinding the heels and soles which is very dirty work, but sometimes I cant believe I have made it. It is very rewarding seeing this object transform within my two hands and keeps me working through the tough times.

AG: How long does it take to complete one pair of shoes?

ES: This depends on so many factors, I custom make all of my shoes, so sometimes there is a lot of modifying the Last to fit the customer and this takes time. Also sometimes the pattern will also need adjustments. When all the patterns fit, and the Lasts are a perfect fit, and I have all the materials, I can make three pairs in four days but this is working four 10-hour-days with only a small break.

AG: You make bespoke shoes as well as designing your own. Do you find a lot of inspiration from doing projects for other people?

ES: Yes and no. I prefer making my designs as I know the desired results and I enjoy making these styles. Designs that are brought to me by others can be fun and challenging if I like the styles.

AG: Your materials are sourced in Melbourne, do you ever find this limiting, or is this part of the charm?

ES: This can be limiting! I have so many ideas that I end up simplifying due to not finding what I want. Especially with heels they are very boring here so that is why I usually have wooden ones made for me, there is one guy who does this so I have to order months in advance, or sculpt my own leather stacked heels. Apparently in China there is every leather finish that you can imagine! Even simple things like nice shoe boxes are not available here anymore and have to be ordered in the thousands through China.

Sometimes these limitations can make you more imaginative and inventing new methods to complete the design pushes you, but can also drive you to frustration.

AG: What would you describe as your dream shoe?

ES: A shoe that I could make with no time limits, no material cost restrictions, and with leather and trims sourced from all over the world.

AG: If you could work with any other shoemaker in the world in a collaborative way, who would it be?

ES: I would have to say Vivienne Westwood’s shoemakers.

AG: What’s next for Emma the Shoemaker?

ES: New designs when I have the time. I am also starting a company with three shoemaker friends, with all our designs being produced offshore.

Emma The Shoemaker

Next story: Sam Lipsyte: The Secret Is In The Satire

Back To Basics

tristan — Wed, 31 Mar 2010 19:36:06 +0000

Text: Adriana Giuffrida Images: Bassike

Simplicity was once a dirty word. Now it’s the one thing you can’t get enough of. Luckily for Deborah Sams and Mary Lou Ryan, simplicity is what they excel at. After meeting 12 years ago and striking up a friendship, the pair began their label Bassike in 2006 as a solely jersey-based brand. Four years on and Bassike has reached cult status and expanded its line to provide a range of luxurious basics made in Australia – picture a sheer organic cotton singlet with a perfectly washed denim jean and tailored jacket – all the essentials are there for the picking. Adriana Giuffrida speaks to Mary Lou Ryan about the Bassike principle.

Adriana Giuffrida: How did you guys meet. I know that you both worked at Ksubi together in the past, but wanted to know more about how you knew each other and how your working relationship began?

Mary Lou Ryan: We started actually working at General Pants group together, we were both buyers there, and that was over 12 years ago. From there, we became really good friends and we ended up living together, and then we both moved, but we remained very close friends ever since.

AG: How did Bassike begin for the two of you? Was it something you always knew you would want to start, or was it more organic?

MLR: We always spoke about doing something together in some capacity and we’ve always worked really well together. We also have a strong friendship and have always complemented each other, in work life and personal life, so we always wanted to do something. We felt there was a gap in the market, especially in the Australian climate, for a decent T-shirt that was based around luxury jersey and basics. We thought no one was really doing that, you see it coming out of the States or Denmark, but it terms of Australia. That was really our climate, so we thought we would come up with the idea of doing jersey basics and other casual staples. Now we’ve branched into whole new categories of denim, tailoring and shirting.

AG: The great thing about Bassike is that anyone can wear it and still maintain their own identity and personal style whilst wearing it. Was this always something you wanted to accomplish?

MLR: It was not a conscious decision, but it does feel good that all types of people can wear Bassike and feel good.

AG: I really admire that you make all your garments in Australia. Was it always something that you intended, as well as using organic jerseys? Or was that more your point of difference?

MLR: We have always been socially conscious and when we started our own label they were the things we wanted to look into. It wasn’t necessarily that we wanted to be a big ‘organic’ brand, it was more about what felt good and what felt right for us at the time. Supporting local community was really important, because everything has become so globalised. You also have more control over your product. We are in our factories all the time and it’s more about creating a unique product. Doing it locally and using organic cotton allowed us to have a uniqueness; our own identity.

AG: Is there a difficulty to sourcing these products?

MLR: There is a lot of planning that goes into the management of purchasing organic yarn. The yarns are sourced from all over, and we bring that into Australia and we knit it all locally and dye it all locally.

AG: In the past you have used quite simple colour palettes and solid colours in your collection. I have noticed that you used a little bit of print in the winter collection, is this something you will further endeavour to do?

MLR: Digital yardage prints is definitely an area that we will expand on. With the simplicity and colours of our collection, it is important that we don’t become one dimensional.

AG: You have branched out with Bassike Premium, which features even more luxurious items. Do you see any other areas where you may expand the brand?

MLR: Bassike Premium will always be part of what we do. We won’t create a Bassike Premium collection every season. It’s more about when we find an amazing fabric and feel inspired to create. This is more an experimental brand for us, that will come and go over the years. We’re always evolving. We are looking to expand our knitwear and shirting and we have the foundation now, so we’re developing those categories.

AG: Your label has expanded so quickly. It frequently features in all kinds of publications and is stocked in over 50 stores nationwide, not to mention the online component of your business. Where to next for Bassike?

MLR: For us it’s about organic growth. Hopefully in the next year we will have the same following internationally as we do locally.

AG: Last year you didn’t show at RAFW, but you are in 2010. What can we expect from your show this year?

MLR: The decision for us was more about ‘our message’. Obviously when we started a lot of our products were really centred around jersey, and a lot of people know us for that. But for a long time now we have been doing denim and tailoring. We’ve done all sorts of other product outside of our jersey, but not a lot of people know us for that. So we thought this was a good opportunity to show our other products and show that we are not really a jersey brand, that we do go into other categories.

Bassike

Next story: Oh My Good – Samuel Hodge

One Of A Kind

tristan — Wed, 31 Mar 2010 19:15:44 +0000

Text: Millie Stein Images: Rene Vaile

Here is what I have learned from Dion Kovac: retail is a tricky business, clever people are softly spoken and James Cameron is a Freemason. He knows a lot, and will tell you as much as you care to hear. Even his shops speak volumes.

Take One of a Kind, for example. It is Dion’s third shop in eight years, situated in Darlinghurst’s Darley Street. The small, vine-covered space holds a few pieces of vintage furniture and a well-edited selection of menswear labels, including Vanishing Elephant, Rittenhouse, 3/1, Generic Surplus and B Store. The shop feels carefully curated, but decidedly informal. It speaks of someone who has experimented with many ways of doing what they do, and has finally settled on the one.

Dion opened his first shop, Our Spot, in 2002 with his wife Claire Cooper Kovac. It had a gallery in the front and a shop in the back, and an entrance in a laneway off Crown Street.

“I was heavily involved in the skate scene in Sydney, then moved to London where I was working in Soho, managing a skate shop,” he says. “I came home, took a walk down Crown Street and went, ‘Nothing’s here’. Because of skating, I had so many friends who were creative, into photography, painting, music, so Claire and I thought, ‘Why don’t we do something a little different?’”

Ask anyone who went to that first shop: there was something right about it. What Dion and Claire were doing was reminiscent of another time – a few years in the future – and place – New York, or even Melbourne. Eight years later, it seems that having a beer at a gallery opening and buying skate brands for regular wear has caught on fast.

“With every store that we’ve ever done, our primary concern has been to concentrate on something that isn’t happening,” Dion says. “For some reason, people in Sydney think differently about retail. Don’t get me wrong; there are people out there who are in to it. The first store was like a melting pot for art dudes, skaters and Asian kids who collected sneakers.”

In contrast, Our Spot’s second store, opened in 2007, was a step up. Dion’s tastes had changed, and brands such as APC, Nom de Guerre, and Robert Geller would sell out within days. The space was an homage to clean lines and a subtle kind of taste, and the store received international attention and patronage.

Come 2009, the Global Financial Etcetera was in full effect and, most unfairly, Our Spot closed. It wasn’t so much about why the shop shut its doors. Instead, it made people (me for one) question how receptive Sydney really was, and is, to the kind of thing Our Spot was trying to do.

“It was definitely a disappointment,” Dion says. “It was a big part of our lives but we had to let it go. I don’t think people realise sometimes how tough owning your own business can be. You’ve got to really work your butt off. But look, we’re still here, and we’re still doing stuff. There was a lot of talk for me to do Our Spot again, but I wouldn’t like to bring anything back. Once it’s done it’s done – move on to the next one and start again.”

And that brings us more or less up to date. With two stores down, One of a Kind is indicative of where Dion’s interests and energies are at now. He doesn’t really know, or care, whether it’ll be for open for six months or six years. Brand exclusivity and competition are non-issues (“I’m not fussed with that shit anymore”). There is talk of a book fair and hanging friends’ photographs on the walls of the shop. When he speaks about his aspirations, they are mostly in theme – magnanimous and community-oriented. It’s just the way he is, and it makes you want to listen.

“I think it’s only a small little town, and everyone knows everyone’s business,” he says. “It’s so much easier when everyone can come together. And that’s what I want to do now: I don’t want to strictly run One of a Kind like a traditional store. You need to keep moving. Once you do, it opens up so many other possibilities and friendships and all the good things in life. It’s boring otherwise.”

“If I didn’t do this, I guess I could get on the dole and become like The Dude out of The Big Lebowski. This business is stimulating, but it’s hard. I enjoy the game, though, I think it’s fun. I do it for the same reason anyone does what they do – you have to keep on going.”

One of a Kind
114 Burton St (enter on Darley St)
Darlinghurst NSW

Open Tuesday to Friday, 12 to 6pm and Saturday 11am to 5pm.

Next story: Dark Arts – We Buy Your Kids

And So The Story Goes…

tristan — Sun, 28 Feb 2010 14:02:24 +0000

Text: Adriana Giuffrida Images: Self Titled

Tulia Wilson cemented her feet firmly into the fashion industry through stints at Zambesi and Ksubi. Now she has branched out to create her own label, Self Titled. March marks the debut of Self Titled, and the collection brings a refreshing element of effortless chic. Using luxurious fabrics and textures, clean lines and a fantastic eye for structural detail, Tulia brings us pieces that will remain in the wardrobe for years. Adriana Giuffrida speaks with Tulia about her creative past, the present and the future of Self Titled.

Adriana Guiffrida: I recently read that you have come from quite a creative family. Your father is a furniture designer and interior designer, and your grandmothers are milliners, seamstresses and jewellers. Did it ever make you think that you wanted to branch out and be a lawyer for example, or did you always know you would be creative as well?

Tulia Wilson: I have never been asked that question before! I did actually go through a phase of wanting to become a surgeon! I loved my education, but I always wanted to find something that would combine my artistic side with the more mathematical, pragmatic side of my nature. On days when I have a creative block I feel like giving it all away and going to help the starving people in Darfur, or the neglected children in Nigeria, or something else very noble and worthy. I sometimes struggle with the meaning of creating fashion when there are so many more important issues for the world, but the flip side is that I know in a small way fashion makes people happy.

AG: You initially studied architecture before heading into the fashion industry. Obviously the forms are very different, but in a lot of ways you are translating two dimensional ideas into three dimensional ones. Do you find there are many parallels between architecture and clothing?

TW: Of course. I abandoned my architectural studies because I was seduced by the pace of the fashion industry – and I’d always loved dressing up. The relentless momentum of fashion is challenging and intoxicating. I do struggle with the transient nature of it though, and that many ideas often have a shorter life in fashion, whereas design principles can be honed and worked over time in architecture. I still hold a desire to one day create something that will be more of a lasting testament, something that will outlast me. One of the important driving forces for me creating fashion too, is to resolve pieces that are beyond seasonal expressions; pieces that become firm favourites for years to come.

AG: So you are originally from New Zealand and have a history of working with Zambesi for 15 years. What brought you to Australia after all that time?

TW: A strong desire for change. I felt that I had grown all I could within the NZ industry. I also enjoyed the anonymity I had over here. That meant I was more able to explore my creativity without the legacy of my past work.

AG: Tell me more about Self Titled, how did you come about starting your own label?

TW: It really was not a long held dream to have my own label as I had been so fortunate to work with such interesting companies in the past. Rather it was a desire for me to continue to ‘practice’ this craft and develop my skills. As well as a sense of frustration that I wasn’t finding the clothes that I wanted to wear. I felt that my friends and I resorted to buying vintage clothes in order to find something more unique, and in a way exclusive. The industry has changed a lot during the time I have been involved in it, and the rise and proliferation of things like ‘High St’ fast fashion has meant that many people often want to dress to the latest trend rather than with such a sense of individuality. That is what is also so exciting now about the counter rise of street fashion and blogs who champion that wonderful sense of unique self expression.

I believed there was room within the industry for a more exclusive, boutique label that focused on high quality, yet was only produced in small quantities so it still felt special.

AG: The collection has quite simple silhouettes, and is very sexy and sensual with its details. Who are you designing for when you begin a collection?

TW: My eclectic, stylish and wonderful group of friends.

AG: The fabrics in this collection are quite varied, fine jersey, leather and sequins are all present. How important are the textures within the fabrics you use to your design process?

TW: Fabric and texture are incredibly important to me and they form the basis of any collection. I generally choose fabrics or yarns before I develop the styles. I have certain textures that I love to work with like leather, knitted yarns, silks and cottons – mostly natural fibres. I particularly enjoy combining different fabrics within single garments. These subtle contrasts and juxtapositions help define the details.

AG: With your debut collection now complete what do you see as the future of Self Titled? Do you have strong ideas in mind for future collections?

TW: The first collection was very much about creating a starting point to build from. I wanted to do this slowly and deliberately, just dipping my toe into the water rather than trying to make a big splash. Each collection will be an evolution, again focusing on experimental yet wearable pieces. The future will see the development of some accessories to sit alongside the clothing too.

Self Titled is available exclusively from Lands End in Sydney

Next story: A Pause In Conversation – Jim Houser

Elephants Never Forget

gabe — Mon, 01 Feb 2010 03:16:53 +0000

Text: Alice Cavanagh Images: Vanishing Elephant

It’s just shy of two years since they started, but it would be fair to say that the boys behind Sydney based menswear label Vanishing Elephant, have assisted with the much needed return to gentlemanly style that has infiltrated today’s fashion. Their signature aesthetic is one of classic tailoring and simple styling, creating a refreshing alternative to the distressed denim and fluoro colour blocks that have been rocked by every Tom, Dick and Harry for far too long. And for Felix Chan, Arran Russell and Huw Bennet this is only the beginning.

Alice Cavanagh: So, I realise that I already know this but what is each of your roles in the brand?

(Silence)

AC: Wow, this is a good start.

Arran Russell: Well, I am the Vanishing Elephant Dancer…

Huw Bennett: OK I’ll start. Huw Bennet, Sales.

AC: You don’t have to say your name; I will recognise your voice when I transcribe…

HB: Huw Bennet, International Sales, National Sales, and Creative.

AC: You need to explain what is involved.

HB: OK well I sell the clothes to wholesale accounts and I manage some of the international accounts, which Felix and I are still handing over to agents and distributors. I help Felix with the
creative and design process and I guess I also help with the creative behind the scenes stuff, like instore promotion and all that business.

Felix Chan: He is very talented.

FC: Felix Chan, Pisces, 27 and single.

AR: (laughs): We’re all Pisces by the way and we are all 27 and single.

FC: Yeah right.

AR: OK, I’m 33 and single.

FC: I overlook the creative, but we all work on it pretty evenly and then I handle a lot of the back end.

HB: You’re logistically money minded.

FC: Yeah, plus I manage the collection timing etc with Arran.

AR: They tell me their ideas of what they want to do and how they want it done and I take it from there: spec it up, take it the factories, get it made and deal with the whole
production process, until it lands in store.

AC: How did the label come about?

AR: To support a crack habit, that is the off the record answer.

FC: I hate this question.

HB: Felix had the idea of Vanishing Elephant, and then I came on board. (dryly)

FC: Arran was always involved

HB: I came in at the eleventh hour.

FC: Huw came on board just as we finished our first collection. It has become much bigger than we expected. It has taken the majority of all our time and our focus. So now it is the three of us, more or less full-time.

AC: What did you all do before this?

HB: I was a sales agent – I had my own agency.

FC: I also was in sales with Incu, in the distro area and before that I used to do the buying for Incu with Vincent Wu – the best menswear buyer in the word, self-proclaimed (laughs).

AR: I had my own brand for a while and worked on other brands designing and producing.

HB: And you still have a vodka business.

FC: Arran has a vodka business.

HB: Although they don’t sell it upstairs at Moncur…

AR: But we don’t talk about that.

AC: Has fashion always been your main interest?

AR: Yes since I was a little boy, three-years-old, wearing my sister’s clothes…

HB: Not fashion, but clothes… the industry. Not so much forward fashion.

AC: OK, so considering how well the brand is doing…

FC: I didn’t even get to answer that question.

AC: Well do you want to?

FC: No, not any more since you skipped right over me.

AC: OK good.

AR: Ohhhh.

AC: Considering how well the brand is doing and that it would be fair to say you don’t have technical training in terms of fashion design etc. What has been the most challenging thing so far?

AR: Speaking Mandarin.

AC: Do you speak Mandarin?

AR: No.

HB: I guess everything coming together, being cohesive. Is that right?

FC: Yeah. I don’t think that whole – ‘we don’t have a technical background’, has hindered us. More often than not it has helped us. I mean we are not trying to invent anything or create
anything that is abstract, completely high fashion or artistic.

HB: All the designs are classic silhouettes and shapes. I guess it is just making sure the process to get that classic shape is followed through, whether it be the fabric or timing – just making sure everything comes together. We really only have our shit together now though, this season.

AR: Design is about five per cent of our business really. A lot of people don’t realize that, they think it is this glamorous thing but it is not.

AC: What has been the highlight so far?

HB: I guess the highlights are still to come. This year we will get to be a bit more adventurous with how we present the label and we are working on collaborations – that will be very exciting.

AC: Can you talk about them?

HB: Not yet, but there are some amazing collaborations to come.

FC: It’s been a pretty good ride so far. There have been a lot of ups, not too many downs, so I don’t think there is not one thing that stands out, every season there are really good moments.

HB: Even simple things, picking up new accounts, getting feedback from retailers that everything is retailing well. You know that we actually always get a smile from the retailers when they talk about sell through. It’s not like we are pushing a wheelbarrow with no wheels.

AC: What are you ultimately trying to achieve with the brand?

HB: I guess it’s to create menswear pieces that are quite classic but still have some apsirational point to them, um and it’s about being able to wear what we see are apsirational pieces, that are sold at an affordable price.

AC: Would it be fair to say that in essence you guys are the Vanishing Elephant brand? Do you design with yourselves in mind?

HB: It sounds like a bit of a cliché, but yeah what we make we ideally like to wear. I don’t think we make it because we think, ‘I need a pair of green trousers, so let’s make green trousers.’ It’s more like — ‘that’s cool that colour, or we definitely would wear that.’ And I guess you can see from the current collection that there it is starting to look more like us. There is that little grandpa cardigan that is really Felix.

FC: Yeah, it’s starting to reflect us more and more.

HB: Our aesthetic is becoming more and more popular, so we are pretty lucky.

AC: You guys all like music, if Vanishing Elephant was a band, which band would it be?

AR: The Proclaimers.

FC: Queen (everyone laughs)

HB: No Sunnyboys.

AC: OK that is a real mixture.

FC: No for me personally it would be Fleet Foxes/Grizzly Bear.

HB: Mine would be Sunnyboys mixed with Yeasayer.

AR: Mine would be I don’t know, cause I don’t really listen to music.

FC: His would literally be Queen.

AR: Giggles.

HB: His would be The Avalanches mixed CD.

AR: Ha! That is the only thing I have on my iPod.

AC: What is the ultimate plan for the brand? What is the next move?

AR: Focus on North America.

HB: Yeah, I guess there is a lot of growth there. We are talking more and more now about UK and Europe, that is sort of the next frontier. Also this year we have an art project with General
Pants, which is going to be great, we really want to do an event of some sort and I guess — I don’t know if it is worth mentioning — but we keep talking about doing an S-H-O-P.

FC: What does that spell? I think it is just consolidating in Australia, we are pretty happy with where we are at, so apart from what Huw spelt out – I won’t spell it again – we are happy. Getting our processes right for overseas as well, because at the end of the day, that is where we really see the brand.

AC: Last question. If not this – and if you could be doing anything with your day – what would you rather be doing?

AR: Fuck all.

HB: I would be playing striker for Bayern Munich.

AR: I would be retired.

HB: Retarded? (Arran laughs)

FC: I would be a food critic.

Check out the latest from Vanishing Elephant

Next story: Old Norse, New Tricks – Dave Ladd & Stephanie Anderson

Brazil And Back

gabe — Sun, 31 Jan 2010 14:02:33 +0000

Text: Caroline Clements Images: Dallas and Carlos

If you think there’s something fishy about Dallas and Carlos, you’re right. Lucky for these two beach babes, the kind of fish they are pedaling is a little more glamourous than the average fishmonger, at least it looks that way. Caroline Clements talks to the accessorising ladies of Dallas and Carlos about eco-friendly fish skin from Brazil coupled with golden bling, and why Kanye West is so influential.

Dallas and Carlos is an accessories label by Katherine Etheridge and Jess Constance. They are old friends from school, and after reuniting beachside in Brazil early in 2009 they began Dallas and Carlos as a way of extending their crazy Brazillian lifestyle. Though it doesn’t sound like there was ever a dull moment anyway – before their meeting in South America, Etheridge was working as an interior designer in Sydney, Constance was a fashion stylist in New York.

The name Dallas and Carlos comes from when they were living in a small island in the south of Brazil called Florianopolis. They were living in the middle of town on the island in two separate apartments. “In Brazil, apartments are given names. I was living in a block called DALLAS and Jess was in a block up the road called CARLOS. Every morning we would chat and she would ask, ‘what’s happening in Dallas?’ and I would ask ‘what’s happening in Carlos?’, and that’s how the name was born.”

Dallas and Carlos seem to be talking it all in, and are highly receptive of their surrounds. “Our staple pieces are influenced by stuff we see on the street, hear in a song, a dance move we see in a club, or a image on a street sign post. Then we try to interpret what we see and turn it into wearable accessories.” This includes traveling, people, street culture, music, postmen, and old TV shows and films. This season was designed in Miami so was all about neon lights, fluro 80s and 90s clothing, wristbands, MC Hammer, Cuba and Kanye West. Which leads me to my next thought, what is so influential about Kanye West? “Our first weekend in Miami we were part of Urban Fashion Week where over 350,000 ‘urbanistas’ come to South Beach to get their ‘urban’ on – it was insane. Our apartment was fitted with sound proof insulators to use for this weekend so that the bass wouldn’t bring glass shattering to the floor. Kanye feautured highly over the weekend and his songs became part of the Miami beach soundtrack for 2009.”

Dallas and Carlos are currently based in the Victorian beachside town of Sorrento, and upon meeting Etheridge my immediate impression is that she is one of those people you just know was born with a beachy swagger. “We dont go a week without finding oursleves next to water.” And like the good business woman that she is, she is decked out in Dallas and Carlos, and lots of it. “We mostly wear our jewellery but love to layer in old vintage unique pieces or the odd piece by another designer or artist. We prefer to see how jewellery can be grouped and layered together, rather than individual pieces,” she adds.

The SS10 collection has recently been released, and materials include pieces made of 24-carot gold plating, rope, Italian nappa horse mane hair and fish leather. The fish leather comes from a company in Brazil that uses the process of tanning by-product animal skins. That is, they only work with the skins of animals that are first and foremost consumed as food. The tanning of these skins is basically a recycling process, as they would otherwise be discarded. Through this process, the skins are transformed into leathers that have a soft, malleable and resistant surface. “The company we get our skins from have formed part of the e-institute in Brazil – the first organisation that works with environmentally friendly and sustainable materials – we are really happy to be involved with them.”

Dallas and Carlos

Next story: The Blackmail’s Books – Best Reads of 2010

The Temptress

gabe — Mon, 30 Nov 2009 14:15:09 +0000

Text: Adriana Giuffrida Images: Therese Rawsthorne & Tristan Ceddia

I wouldn’t be lying if I told you that I am quite a girly-girl. I like painting my nails, and getting flowers, and I especially like Therese Rawsthorne’s clothes. Each season I am captivated by her soft colour palettes, mixed with sharp tailoring and sneaky details that are subtle and sexy. I especially love that her clothes are about strong women, created for strong women, but not ignoring the fact that we all have a sensitive side. I was lucky enough to visit Therese’s Sydney studio, and have a talk with her about where her current inspiration is coming from, and who she designs her clothes for.

Adriana Giuffrida: So how many seasons has Therese Rawsthorne been going for now?

Therese Rawsthorne: I’ve done seven seasons now.

AG: And what were you doing before that?

TR: I studied at UTS, then worked for a year, then I went away and lived in London for three years, and while I was there I worked in retail. I was working over there for Issey Miyake, and then I came back. The reason I came back was because I always knew I wanted to do my own stuff. I thought, well I have to just start. I basically worked part-time jobs, and started doing stuff, and just fucked around in my bedroom for a year in my own dream-land, not really understanding how to put it out into the market. Then I thought, “this is not good, I really need to get buyers and get serious about it,” so I took six months off and did a small business course.

AG: How do you go about starting a new range? Do you find you think of a theme, or colours or fabrics?

TR: I guess I just have a general feeling or a mood. This time I just got back from my trip and got quite inspired by the desert and a lot of the colours while I was away; particularly in America. Now I’m just trying to take those loose ideas and put them into more of a form, then really start designing from there. At the moment I’m just gathering my references, I’ve pretty much already chosen my fabrics. It’s kind of weird at the beginning you choose your fabrics and have to make sure you use them, but it’s stage by stage. I work for myself and don’t work for someone else, so it’s quite a loose process. It’s not like I have to report to someone every week, but it’s good and bad because it does mean sometimes you can drift along a bit. I realised this week I was getting myself into a working frenzy, and was thinking, “Oh the holiday’s gone now”.

AG: Where did you go?

TR: We went out to the western rim of the Grand Canyon. It was so good. We did the big cities; but then going out to the desert and seeing the contrast. Going somewhere a bit kooky like Las Vegas and then actually finishing the trip with the desert after being in massive cities the whole time in Europe and the U.S., it just relaxed us. And the driving was great. It wasn’t about getting somewhere, it was about the drive. We had spent the day at the Grand Canyon and were looking at each other, thinking, “I can’t wait to get back in the car, can’t wait to get back in the car”.

AG: What kind of car did you have?

TR: We had a Chevy Silverado.

AG: What’s the inspiration behind the range that’s in store now, ‘The Temptress’? The show that you had at fashion week, you were saying it was all inspired by powerful women?

TR: That seems so long ago now. It’s bizarre how everything moves on so quickly. So that is called ‘The Temptress’. You know, everyone loves their strong women and their idols, but I wanted to think about not only the strength of those characters through history, but also their vulnerability. I think whenever you think of controversial female figures through history, they are always seen as these impenetrable, powerful, man-eating figures. But I reckon they probably still had women’s problems, period pain, confusion about which lover was their favourite. Yet they still had to be the main carers. Women just are by default. So in the collection I had a few quite slick pieces and streamlined and modern pieces, but I always wanted to throw a softness in. So it’s not like a literal interpretation, where you’d say, “It’s inspired by Cleopatra, therefore I have gold winged lines and big shoulders”. To be honest, with the thematics for my collections I’m never usually that themed about it, it will always be a looser thing.

AG: That you visit, rather than let direct you?

TR: Well that’s just a feeling behind it. Unfortunately we live in an age where everyone wants a sound bite and so you almost have to package that inspiration and make it something that is easily understandable and easily articulated. I understand why that is the case, but for me, I am not really that literal. Essentially for me, my collection doesn’t really change that much, it doesn’t do a 360 every season. All the clothes from each season will make sense with what happened before it and what happens next.

AG: Your collections are usually quite feminine, is that something that just comes naturally?

TR: Yeah, I guess I really like the clothes to be really wearable. I love conceptual fashion and avant-garde stuff, and the designers I admire the most would be at that end of the spectrum. But when it comes down to it I don’t want my clothes to be sitting somewhere in a cupboard or on a rail and not getting worn. It’s a lot more satisfying for me if it means something in the daily life of a woman. That is something that has developed for me. When I started I thought I had to be experimental and stuff, and I sort of realised the most rewarding thing for me is when friends say to me that a dress makes them feel a certain way; like it makes them feel really confident, or if they can say “I feel so myself when I’m wearing this”. I think in a way, when I design, if I can get that affirmation when the wearer feels that confidence and affirmation of themself, that is what I find really exciting. I think not everyone can do that either.

AG: Do you ever design with a person in mind, like do you think this is the Therese girl and she would do this?

TR: Yeah definitely. Because you kind of know that you have to put a certain personality in the clothes and that is the personality you attract in a customer. Of course there will always be variance. I always think of my girl as being quite smart and cool, and not too uptight and has her shit together, and is not afraid to do her own thing in life. So that is the mindset. I guess I think about my friends and they are all quite together, but totally flawed. You know, struggling to keep it all together, but at the same time really cool girls, and really smart and funny, and not fashion victims. My friends always whenever they come to see the new range, say “You were thinking of me when you designed this one,” and different seasons will be like more Tessa, or more Alison. It’s quite funny. They really at times recognise themselves when they look at different pieces.

Therese Rawsthorne

Next Article: Hana Shimada – Drawn Out

On Your Bike

tristan — Sun, 01 Nov 2009 07:57:10 +0000

Words: & Images: Kashi Mai Somers

Earlier this year Matthew Hurst started The Humble Vintage, Melbourne’s special vintage bike hire. Six months on he can use Creative Suite, dink two bikes at a time and can appreciate the natural benefits of biking around even more. Kashi Mai Somers rode his special café’s route and chatted with him along the way, finding out how these sweet bikes are better than their mountain cousins and which ‘culture’ is important to Matt.

Kashi Mai Somers: Hey Matt, you’re renting bikes now. Where did this all come from?

Matthew Hurst: About six months ago I finished working in my 9-5 and on a whim flew off to Buenos Aires. While I was there I rode around on this rad rickety old bike, came home and inspired by that, got my fleet together. I’ve got a fair few bikes now, and they all have their own special ways. They’re vintage, obviously, but have all been restored and sort of have the feel of your friend’s bike you borrowed for the afternoon.

That’s how I want it to be too. I want people to have a really personal connection to the bikes, and also for it to feel like there is a friend who has a bike just up the road, and you’re okay to borrow it whenever you like.

Well, for $25!

KMS: Is that how you do it? People just come over to your place and pick up their “friend’s” bike?

MH: Well it was like that in the beginning. I’d ride the bike to a meeting spot, swap them the lock keys for some dollars and jump on the tram home. Or they’d come to my place.

Now I have a couple of spots that house Humble Vintage bike racks. People can rent from 1000 Pound Bend in the city, Idaho Vintage Clothing in St Kilda and Seven Seeds in Carlton. There are a few more places popping up soon too.

I do still do it the old way for fun as well. I do want to keep that feel and I like having the chat and the interaction.

Plus I recently learnt how to “ghostie”, and even what that means [riding a bike, pulling along another], which definitely helps with the bike returns.

KMS: Do you think renting bikes out is anything new?

MH: Bike rental is obviously not new in Melbourne, but I think what’s out there is stale and the concept is really undeveloped… I mean there can be a lot more to it than racks of unappealing mountain bikes rented by the hour [as is practice in the CBD of Melbourne, and in most cities currently].

Melbourne’s a place with an amazing bike involvement, yet there wasn’t a service aimed at expressing and sharing this with people who didn’t have their own wheels, with people that seek culture and creative stuff too.

I guess I wanted to create something that allowed a traveler to walk into a cool café near their hotel, pick up a lovely vintage bike and blend in the with locals. Then be given a map of things to discover on special riding routes, a mini publication with some great bike-style editorial and for them to enjoy this city. Or a local with the same interest.

KMS: Where’s the map and publication coming from – are you doing that too?

MH: Yes! I’ve been working on the summer one for a little while, and appear to have taught myself Illustrator in the process.

The map is of Melbourne and has some special riding route’s I’ve discovered, plus I’ve made sure there are some secret cafe’s, shops, things I like doing in there. As a biking local you find things down little streets that others miss out on, and I thought it would be nice to include that kind of stuff.

The publication is on the other side of the map (the paper will come out seasonally) and has small features on biking history, cool cultural things on in the season, people’s stack stories, that sort of thing. I wanted it to be relevant to bikers that pick it up in cafe’s too, not just the people that rent from me.

KMS: So it’s more about culture on bikes, rather than “bike culture” specifically?

MH: Exactly. Lot’s of people ask me questions about my contributing to biking culture and how it feels to be part of Melbourne’s bike culture etc.

I think The Humble Vintage is not focused on “bike culture” – it’s not about fixies or lycra weekend power cyclists, it’s more about people getting around and having an explore of Melbourne and its culture on bikes.

So yes, it has lots more to do with people who like bikes getting involved with cultural things in Melbourne, rather than contributing to a club of sorts.

KMS: On the eco front, biking is obviously a “saving earth” tip we’ve all been told time and time again. What do you think about this?

MH: I think it’s important, but much like not being part of a bike “culture”, I don’t want to tote “eco” as my businesses pitch. I do ride a bike, but I don’t ride a bike because it’s eco, it’s a great secondary factor that I appreciate.

I guess I just hope that the people who rent bikes from me are aware of the environment in general. And that people who aren’t might be biking along on one of the Humble fleet one day, and think “this is fun – I’m going to buy myself a bike” and then that’s one less car out there.

Or a visitor to the city who is interested in biking from an eco stand point shouldn’t be forced to hire something that’s not as lovely looking as their wheels at home.

The Humble Vintage is an eco business whether people are educated, considered, knowing or not, just because bikes by nature are [eco friendly].

KMS: So it’s been six months now, what for the next six?

MH: I’m excited about the biking publication I will put out in a few weeks, that is the next really important thing for The Humble Vintage. It’ll extend what visitors can experience, and there are some funny anecdotes that I think readers will enjoy. Then there’ll be the next edition of that, and I’m over to New York for a little visit too.

There is bike enjoyment, bike culture, bike obsession, bike everything there, so it will be interesting to see what people think about what I’m doing, and even just to look at all the bikes over there.

I’m just focusing here with The Humble Vintage at this very moment, but am always interested in other places that love bikes…and it’ll be cool to see if I can rent one there like mine.

KMS: The final and most important question now Matt. Can you ride with no hands?

MH: Yes! My hot tip is to sit up straight and look far ahead. My friend says put your hands together on your chest with your elbows out to the side.

KMS: Like in prayer?

MH: Yeah, pray you don’t fall off.

The Humble Vintage

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