Interview - Leeyong Soo Part 2

In Part 1 Leeyong told us about, her experiences in the fashion industry. In Part 2 she tells us about some of the challenges facing designers today.

6. You started your own label Fourth Daughter which features one-off party dresses made from vintage kimono and obi material. What were the major challenges you faced starting your own label?

Making everything myself! I’m not trained in patternmaking or anything fashion related so a lot of my time went into that. As all the garments are unique, I couldn’t get them mass-produced, and was against that idea anyway as I wouldn’t have been able to afford it unless I used sweatshop labour – to which I am of course violently opposed!

7. Before starting this blog, as a consumer I was very unaware of the difficulties facing fashion designers. What thing do you think it is important for consumers to be aware of so that they can gain a greater appreciation for the work that goes into producing clothing and accessories?

All the time and materials that go into making even one item, not to mention the energy and resource! Just think about a cotton T-shirt, for example. The cotton has to be sown, grown and harvested, which takes fertiliser, water, and lots of backbreaking work – not to mention chemicals and the illnesses and poverty that accompany their use if the cotton is not being grown organically (many farmers in India suicide because they are forced into massive debt because of having to buy chemicals, or they get really sick because they don’t know how to use them properly). 

The cotton is then processed into thread, woven, cut and sewn into T-shirts, with dyeing or printing most likely taking place somewhere along the way too. That’s not even factoring in the design process – design for fit or embellishment which will differentiate it from the thousands of other T-shirts on the market. If it’s decorated somehow, where do those parts come from (beads or buttons, for example)? And then there’s also the delivery – the raw materials and the T-shirt itself probably crosses several continents before it gets to you, which of course all takes up resources. Something to think about the next time you buy a $5 T-shirt – if it’s that cheap, just consider how many people must not be getting paid properly! 

And if you’re buying something made by hand locally, just think about how much time and effort went into that too – I’ve had people say my things are too expensive but handmade items take a lot of time. If I sold them for the same price as something at Zara, I’d be paying myself $5 an hour!!! I hate to be a party pooper and I’m actually the last person you’d find paying more than $10 or so for a garment (I shop at op shops!) but we consumers have had it too cheap for too long. We’re going to have to start paying proper prices for things sooner or later!

8. You have recently been exploring the possibility of creating a fair trade range of garments. Why do you believe it is important to support fair trade and what have been the major issues you have faced trying to get a project like this off the ground?

Fair trade allows communities in developing countries to be paid a fair wage and work in fair conditions, meaning that they have adequate light and ventilation and fair work hours, among other things. The system also allows schools and other community facilities to be built, meaning that it’s not only the workers but the whole community that can benefit. My major issue is time but courage as well – I haven’t been able to look into starting a fair trade label as I’d really have to go over to a country such as India and spend a significant amount of time finding manufacturers and staff who could co-ordinate things on my behalf when I’m not there, and it’s a very big step and huge commitment.

9. You have experienced life in the fashion industry from an editorial and designer perspective. What do you believe are the major issues facing the fashion industry today?

Sustainability and ethical issues are probably the biggest ones but as I’ve gone on about them already, there is of course also the issue about new and upcoming designers – are they getting the support they need? I think so many young designers go in to uni with huge dreams, end up completing their course, and then have to work in other unrelated fields or in retail for fashion because there are only so many jobs in fashion design that actually pay.

10. What exciting projects do you have planned for the coming months?

I’ll be making more of my own clothes and accessories, as usual, and documenting them on my blog. I’m also blogging for The Clothing Exchange once a month and creating things for Peppermint. Apart from that, I’ve just started organising the fashion show for Fair@Square festival in December, and if I still have time then I’ll start looking into the fair trade label idea a bit more!

Thank you Leeyong for taking the time to share your experiences! It's great hearing from someone who's had such a varied career in the fashion industry:) 

Make sure you check out Leeyong's creative projects at her blog Style Wilderness and pick up a copy of Peppermint Magazine and check out her work!

Leeyong in a handmade Fourth Daughteroutfit with the lovely Cecylia 

Images courtesy of http://stylewilderness.blogspot.com

Interview - Leeyong Soo Part 1

I met the talented Leeyong at Cecylia's Bloggerversary Celebration. I was amazed when she told me she had made the beautiful hot pink dress dress she was wearing out of a scarf she bought from an op-shop! 

It turns out making clothes and accessories from op-shop buys was only one of Leeyong's many talents. Currently a senior writer for Peppermint magazine, Leeyong has previously worked for Vogue Nippon, designed her own label called Fourth Daughter and started a blog called Style Wilderness which focuses on sustainable fashion, documenting Leeyong's many creative projects.

I was lucky enough to interview Leeyong to learn more about her varied experiences in the fashion industry.

1. Although never formally studying fashion, you have worked for Vogue Nippon and Peppermint Magazine, started your own label Fourth Daughter and have a successful fashion blog. What influenced your decision to pursue a career in the notoriously competitive fashion industry?

I always wanted to be a fashion designer when I was younger, and would sketch designs and spend ages looking through fashion magazines – I just love fashion, although I never studied it! I never dreamed I would actually get to work at Vogue but when the opportunity presented itself to me in Tokyo, I jumped at the chance (at the time I think I said something like “I’d be delighted even to clean the toilets at Vogue”!!)

2. You worked for Vogue Nippon in the editorial department from the end of 1999 to 2007. What are some of the most memorable experiences you had during your time there?

So many… at both ends of the glamour scale. There were the times when we had to put out a shoe and handbag supplement and were up until the early hours of the morning surrounded by hundreds of bags and shoes while we worked out what would make it into the mag – and then of course all the packing up after the photo shoots for those supplements (a nightmare, as everything had to be returned in exactly the bag it came in, items had to be checked off lists, measurements had to be taken, press contact numbers confirmed, etc – all inevitably after more than 12 hours shooting in a studio). Then there were the times when we  went to huge parties and met celebrities, such as Dita von Teese (we all went out to dinner and I got to swap op-shopping stories with her – she loves a bargain too!); Isabella Blow, who I looked after on her trip to Tokyo – she had to take taxis everywhere because her hats wouldn’t fit on public transport, not that she would travel by public transport anyway; Anna Dello Russo, who singled me out in an editorial meeting full of staff wearing top brands to compliment me on my earrings (which cost something like $1 – yes, I was extremely happy about that compliment!); the Hilton sisters and Victoria Beckham… and those were just the times in Tokyo itself. I also got to travel to overseas fashion shows, which I won’t start talking about because I could go on about them forever.

3. You are currently working as a senior writer for Peppermint Magazine. How did your time in Japan influence your work at Peppermint and other fashion projects you are currently undertaking, and plan to undertake?

Despite all the celebs and events at Vogue, the highlight of my time there was organising a Fair Trade project with a company called People Tree. I got four international designers to donate patterns for garments, which were then manufactured by People Tree’s Fair Trade groups in India and Bangladesh. These garments were then sold at Isetan, a major department store in Japan, as well as People Tree stores in Tokyo and the UK and online. We also got top models to model the outfits for a 6-page story in Vogue. I think it was probably the first time major designers had collaborated with Fair Trade producers, and almost certainly the first time it had been done through a major fashion magazine. It was great to be able to spread the message about sustainable fashion to people who wouldn’t necessarily be interested normally. I’ve carried that on since coming back to Melbourne, but Peppermint magazine is a bit different in that it is aimed at girls/women who are interested in sustainability, so everything that I do for Peppermint has that focus.

As to other ways my time in Japan influences my work in fashion, well, I was working at one of the biggest fashion magazines in the world when I was there but certainly was not getting the biggest pay packet in the world, so while I wanted to look the part, I couldn’t go and buy designer fashion every day. I’d always made my own clothes, but I became more creative  and resourceful with my designs, and that has continued since returning to Melbourne.

4. You are passionate about sustainable fashion and on your blog Style Wilderness, feature a lot of secondhand garments you have re-worked. How can adopting sustainable fashion benefit consumers?

Where do I start? It depends what sort of sustainable fashion you mean, as sustainability is very broad and can mean recycled clothing or new garments made ethically from sustainable materials, for example. My take on it is as much about cost as anything – I shop at op shops most of the time and rework what I have bought there, which means some of my outfits cost under $20 (and some even less than that). Of course there is also the bonus of having a unique garment – none of that chain store stuff! Plus, if you do alter a garment, you get that unbeatable creative buzz.

5. You have worked in both the Japanese and Australian fashion industries. How do these industries differ, and what do you believe the Australian fashion industry could learn from the Japanese fashion industry?

The Japanese fashion industry is just huge because the market is so much bigger. Trends catch on a lot quicker and are a lot more visible in Japan – not just fashion, but foods and all sorts of other products too. I’m not really sure what our industry could learn from Japan’s because Australia is so different in terms of population numbers and density, and our spending is so different too. Whereas most Australians buy a car and a house during their lives, I would say most Japanese don’t. They also can’t take holidays for long stretches of time so there’s not much point saving up for that either. This is why they tend to spend so much more of their income on fashion, whereas Australians are more limited in that regard.

Stay tuned for Part 2 of this feature!

Check out some of Leeyong's beautiful creations:

Images courtesy of http://stylewilderness.blogspot.com

Interview - Neo Dia Part 2

In Part 1 of my interview, we heard about Becky and Gavin's experiences starting up their label. In Part 2, we learn more about their business and what is coming up for Neo Dia.

6. In the past few years, a lot of new and established labels have had to stop designing. The retail industry is struggling and it’s difficult to break in as a new label. What support would you like to see from the industry and government for up-and-coming designers?

Mentorship, grants, small business seminars. Most people in this industry are extremely creative and lack in the business management side of the label. When starting a label many young designers have the skills and talent but are unsure about dealing with investing and business. Unfortunately, some make big investment mistakes and i think this is the area up-and-coming designers need the most support.

7. Having an online presence has become common for designers when promoting their label. You already have a Facebook page, how else are you planning on using different media to engage with consumers and promote your brand?

An online presence is extremely important in our industry, as it allows us to present our label to the world at the touch of a button! Even though we have a website for our label, www.neodialabel.com, it is definitely our Facebook page which gets the most clicks! As well as it is the easiest way to connect with our fans. It's crazy to think that we were actually discovered by Vogue Italia and Modefabriek through our facebook!

In regards to other media we might use, we would love to do some “guerrilla” marketing which would be a lot of fun to execute.

8. You use a range of beautiful fabrics for your designs. As an up-and-coming label, what are some of the challenges of sourcing materials, without pushing the costs of your pieces up?

The use of high quality fabrics are extremely important to us and a core element of our label aesthetic. It is a reality that this places our product at the higher price spectrum of the industry. However, we believe that our customer is willing to spend that little bit extra on quality for a beautifully crafted garment. In return, we always make sure that our fabrics are of the highest quality and source gorgeous European fabrics to make sure that our customer loves the investment in our garments.

9. Who would you most like to see in Neo Dia and why?

We would love to see Cate Blanchett and Daphne Guinness in our ready-to-wear but we would kill to create an Avant-Garde piece for Lady Gaga. These women are huge advocates for unique fashion and have a bold and exciting style and it is this confidence which we believe is very true of a "Neo Dia Woman".

10. What’s next for Neo Dia?

We're in the throws of the initial design and development phase of our next collection. We've got a few exciting opportunities coming up in the next few months with LMFF and more international press. Ultimately we really want to keep the label building and focusing on each collection and building and experimenting with art and fashion!

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Thank you to the talented Becky and Gavin for taking the time to answer my questions! Neo Dia has an amazing future ahead of it and I wish you both all the best. 

Visit Neo Dia's website here.

Check out Neo Dia's Facebook page here.

Check out Neo Dia's amazing Lucid Construct collection:

Images courtesy of http://neodialabel.com and http://allaboutthestyle.blogspot.com

Interview - Neo Dia Part 1

Neo Dia is an up-and-coming label doing amazing things not only with material, but on the Australian and international fashion scene.

Started by RMIT graduates Becky Chua and Gavin Lowes, Neo Dia take their inspiration from art, architecture and academics. 

Neo Dia derived its name from the word "Neo" meaning "new" and "Dia" taken from the word "diametric" referring to lines and shapes. When you see Becky and Gavin's amazing designs which push the boundaries of geometry and construction, the name Neo Dia fits perfectly.

I was lucky enough to interview Becky and Gavin who have been working on their much anticipated new collection to learn more about their experiences in the fashion industry.

1.You both met when you were studying at RMIT and went on to start Neo Dia together. How has it helped having a partner in such a competitive industry?

It really makes a world of difference to have a co designer! We both push each other strive in the development of the range, as well as offer a different slant on an idea the other may not have thought of by themselves. It is also extremely comforting to have someone you trust to discuss and nut out problems as they arise. Finally, two heads and four hands are definitely a plus when there is a collection to be finished!!

2. Your designs are very unique, featuring dramatic pleats that create interesting silhouettes. How do you ensure your designs are creative enough to stand out, but are still wearable for consumers?

We spend a lot of time in the development stages of techniques that we use in the collection, such as pleating and folding. Through experimenting all the facets of shape and movement then we understand how to apply it to garments.

3. Your label has gained international recognition. You recently showed your designs at Amsterdam Fashion Week and were one of 6 Avant-Garde designers selected worldwide to show on the ‘Cutting Edge Platform’. Have you found the response to your label from the overseas’ markets different to that of the Australian market?

The response from the overseas market is quite different from the Australian market. However, when you think about it, each individuals reaction to our collection is different from the next person!

Generally, when we were in Europe, many buyers, editors and bloggers commented on how light and refined the garments and collection was.

I think that the overseas market, particularly Europe, has responded in a much bigger way to our label. For example, sponsoring us to show at Modefabriek, Amsterdam fashion week, and we have also been on the Vogue Italia website before we've even graced the pages of an Australian magazine!! I think this is partially because we're from the other side of the world and have a very unique aesthetic which they are intrigued by, and they are more inclined to take a punt on an emerging label.

Neo Dia's bright yellow cape and dress from their
Rhythmic Algorithm collection featured at the MSFW Media Launch

4. You launched your first collection Lucid Construct at the Melbourne Spring Fashion Festival in 2010. What were some of the challenges you faced presenting your first collection at the Festival?

We spent most of our effort on how we would present our label. Since we only had one shot to launch Neo Dia, we wanted to do it right. That meant we wanted our product and look book to be of the highest quality. We want to that our amazing stylist Jam Baylon, for helping us achieve amazing photoshoots which ultimately help us to stand out and to be taken seriously by many industry giants.

5. Fashion is a competitive industry. What are some of the business challenges you have faced starting a label?

When starting a label, there are so many things to think about regarding business. Do I invest my time and money in a website, manufacturing, advertising, or do I delegate to an agent and consultants, etc. I think that most challenging part about business is knowing what to do first and what you can think about later. We have been very blessed to have an industry mentor whom we can ask questions in the moments when we are overwhelmed, but also when we're not doing something that we should be!

Stay tuned for Part 2 of this interview!

Check out the beautiful garments from the Neo Dia Rhythmic Algorithm collection, which was inspired by music.

Images courtesy of http://neodialabel.com, Neo Dia and www.twitter.com

Interview - Benah Part 2

Brenda with her equally talented partner
Ben Briand 

In Part 1 of my interview with the lovely Brenda Harvey we learnt about her background and what inspired her to start her own label. In Part 2, Brenda tells us about some of the challenges of working in a competitive industry such as fashion.

6. You have chosen to produce your pieces in Australia. Why have you decided to do this, and what are some of the advantages and disadvantages of doing so?
All our leather pieces are 100% Australian Made. This has been a conscience decision from the beginning. Starting off as a small business it is important to set the standard you believe in and be consistent. I have a wonderful relationship with my craftsmen, who hand cut and hand make each bag, belt and so on. 

Having pieces produced in Australia allows me to control the quality, remain exclusive and produce smaller runs for my boutique clients. For me the advantages outweigh the disadvantages. The only thing being that 100% Australian made is reflected in the price, but you get what you pay for. I make it a priority that my pieces are accessible, and that you are getting timeless quality and great customer service. 

That said, I do have pieces that are produced off shore by specialist crafts people that specialize in their fields. All our cashmere is woven in Mongolia by a company that only deals in Cashmere yarn. The Scarves are made in a factory that only produce scarves. They are experts at what they do and this shows in the finished product. I am very quality focused and love seeing the finished product I am proud of.

7. Focusing on the business side of a label is essential to achieving success in a competitive industry such as fashion. What have been some of the major business challenges you have faced since starting your own label?

Everything is challenging when you first start out. But I have been lucky to work in the industry for a number of years so have learnt from others mistakes and gained from some amazing experience. 

The new Benah Nico bag

Some of the biggest challenges have been stock standard business 101; managing cash flow, sustaining growth, meeting demand. Challenging but overwhelming, things that come hand in hand with being a small business owner. Also having a baby 11 month ago certainly came with its challenges but my little girl Milla makes every day more wonderful so I wouldn’t have it any other way.

8. You have decided to focus on expanding Benah into Europe and America. Why have you chosen to target these particular markets?
Exporting has always been a part of the bigger plan. I think it helps to build brand awareness here in Australia as well as opening you up to a much bigger market. As previously said, with the digital age well and truly here to stay, reaching a global audience is much easier than it use to be. The Benah atheistic seems to resonate with the European and American market so it seems like the logical step. We have also started exporting to Japan this coming season.

9. What do you believe are the major issues facing up-and-coming labels in the fashion industry today?

People have to remember that they are small business owners and that this will take up 90% of their time, the other 10% if you are lucky will be designing. Every business decision that you make in the formative years will impact on how creative you are able to be in the future. Sustaining growth and managing cash flow are basic business skills but can sometimes be overlooked in the creative fields. Believing in what you are doing and having faith in your decision making can be hard when starting out so it is important to have a great support network who believe in the project as much as you do. Australia has some of the best support systems for young designers so if you don’t know how to do something or are just unsure, get an expert into help.

Staying true to your vision and making sure you are customer focused is important. You can produce the most amazing collection in the world but if no one is buying it than you may not be able to produce the next.

If there is one piece of advice I continue to give, it is to always appreciate and respect your staff. Without them, the day to day running of your business would be very very hard. It is easy to lose sight of this when you are all working so hard. But remember, to them it is just a job so give them a reason to make it more than that.

10. What do you have planned for Benah over the next five years?
So many things! Benah has just been signed to an amazing PR agency in LA so the next 5 years should be action packed. Exciting collaborations, bigger collections and more of the same. It makes me excited just thinking about it!

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Thank you Brenda for taking the time to give us an insight into the challenges of starting a label. It sounds like Benah has a lot of exciting projects in the works and I look forward to following your success over the coming years and seeing more of your beautiful designs! All the best!

Check out Benah's website here.

Follow Benah on Facebook here.

Follow Benah on Twitter here.

Check out Ben Briand's fantastic work here.

Images courtesy of http://blog.thedepartmentstore.co.nz/