Tactile knitwear and natural dyes: A closer look at Bailey Quan’s graduate collection
photography by Juli Balla
as told to daisy henry
“There is room for knitwear to be playful and still commercially viable.”
When it came time to pick a degree, Bailey Quan came up against the dilemma most young people face: to follow their passion or opt for a safer, academic route. Though she started with an academic degree, she soon grew restless and knew she needed to change. “I think I always came back to fashion because it was so intriguing and mysterious,” she explains.
Now, Bailey has wrapped up her honours degree in fashion and textiles at the University of Technology Sydney, and is preparing to debut her graduate collection, ‘Forest Floor’, at PayPal Melbourne Fashion Festival on February 24. One of 12 students chosen nationwide, her six-look collection explores both the chaos and harmony of the natural world. “Nature offers an endless variety of queries to explore and provides a refuge in which I can lose myself,” she says.
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One of the biggest barriers Bailey came up against was not only learning to knit, but in developing unique methods that pushed the envelope. “I underestimated how long the knitting process would take and the intense labour that is involved, because everything was manipulated by hand,” she reflects.
Despite any setbacks, her resulting collection is proof that experimentation can sit alongside wearability. The vivid hues were brought to life using recipes and natural dyes, which, despite being difficult to perfect, fittingly mirrored the unpredictability of nature.
‘Forest Floor’ is one of many student collections that will be on display at the National Graduate Showcase as part of PayPal Melbourne Fashion Festival on February 24. Held at the Royal Exhibition Building, the runway will feature 12 graduate designers hand-picked from Australia’s leading fashion institutions. It’s always an exciting glimpse into the future of Australian fashion and Fashion Journal is proud to be a long-time media partner of the event.
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Fashion Journal: Tell me about how you first got started in the fashion industry. Did you always want to be a designer?
Bailey: I was always creative as a kid. I went to art school from a young age, and I think that’s where I developed my creative and technical skills. I did have an interest in fashion as a kid, loved dressing my Felicity Wishes doll and found joy in putting together wild looks. I think I felt the power in how I was able to dress a doll and then embody that personality.
When I was choosing a degree to apply for, I was torn between an academic and a creative route. I started with an academic degree and I couldn’t settle in at all. I’ve never had a stronger gut feeling that I needed to change degrees. I think I always came back to fashion because it was so intriguing and mysterious, and I knew there were unique niches that suited my personality.
Apart from my two granddads and my auntie, no one else in my family is remotely creative, so I don’t know what happened but I am glad that all the pieces fell into place.
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Tell me about the collection you’re showing for the NGS runway. What was your inspiration and what is the message behind it?
My knitted collection, titled ‘Forest Floor’, explores the chaotic beauty found in our natural landscapes. It references nature throughout, evoking both disarray and harmony. Nature offers an endless variety of queries to explore and provides a refuge in which I can lose myself through my practice. It invites others to share my admiration of nature.
Rooted in sustainable and ethical methods, my practice is centred around slow craft and uses a curious, textiles-based approach, leading to an eclectic and expressive way of storytelling. I use traditional textile techniques and aim to offer something new to contemporise them. It features tactile knitted textures, vibrant colours and jacquard graphics.
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What has the process been like? Have there been many setbacks or challenges along the way?
I created many garments but ended up with six looks for my collection. As expected, the process was a challenging experience, with more downs than ups, to be honest.
I think that by teaching myself how to knit and using a knitting machine at the beginning of my honours year meant that I wasn’t confined to traditional rules or techniques. It gave me freedom to use the machine how I wanted and in a way that I imagined. I was producing tactile and interesting knitted samples.
At the same time, I struggled to find where I fit within the knitting landscape. I wanted to push the envelope and develop unique knits but was conscious of creating something too abstract. I still wanted to create garments that people could identify as fashion. I was met with a lot of resistance and doubt from myself. I didn’t give myself permission to embrace what I was doing and recognise what interesting techniques I was developing.
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How would you describe your collection to someone who’s never seen it before?
It’s an array of energetic colours, knitted textures and graphics. The vivid colours were inspired by time spent in nature and explored through natural dye, using recipes I developed to achieve vibrant hues. I have embraced the unpredictability of natural dyeing to echo the sentiment of nature.
Textured knitting emerges through playful experimentation on the flatbed machine, draped to accentuate the female figure in a sculptural way. I was also lucky enough to be sponsored by the incredible Calcoup Knitwear team. The use of graphics and colour play is seen across the collection, with two six-colour jacquard knit artworks that are activated by movement.
What are you most proud of in your work so far?
The increasing integration of knit was so unexpected for the collection; it threw me. At times throughout the year, it felt like I was out of my depth. I’m proud that I was able to rely on my intuition as well as what guides me as a designer, which is responding to the quality of the fibres and yarn. It was an intuitive process; I would spend weeks at the knitting machine, having no idea what the outcome would be. But I think, in those cases, these are where the most successful outcomes happen.
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What do you wish you’d known when you first started your collection?
To knit (laughs), that would have been handy! But seriously, I wish I had more trust in myself and my creative process.
I think I also underestimated how long the knitting process would take and the intense labour that is involved, because everything was manipulated by hand. Using a machine can be much quicker, but you can be more ambitious, which was sometimes a detriment. It can be easy to make things harder for yourself.
Who is exciting you the most in local fashion right now?
I am a big fan of Deborah Parkinson! She walked for me in my graduate show at UTS. I’m so passionate about seeing ‘mature models’ kick butt in the industry; it’s so empowering to see.
As I’m getting older, so many of my role models, my mum, aunties and grandmothers are of a mature age. They’re experiencing menopause or have experienced it, and it’s like rediscovering your body. They are intellectual, stunning and so strong; they encapsulate everything I aspire to be. I love seeing Deborah embrace who she is, her style and attitude.
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What about the local fashion industry needs to change?
There are so many points to talk about! One that is relevant to me right now is that I wish the Australian industry embraced knit more than it does. I’m seeing the integration of knit becoming more prominent across collections, but it’s still quite commercial, which makes sense. There is room for knitwear to be playful and still commercially viable. I think there is space, especially in Australia, where we have a strong wool industry, people understand the value of natural fibres and a well-made knitted piece.
Who are your dream collaborators?
Jacqui Symons from Slow Lane Studio! She’s an amazing colourist and natural dyer. She is a constant source of inspiration for my own natural dye practice and shows that every colour imaginable is possible, including vibrant ones with natural dyes. She also dyes with plants that she lives among, which is even more beautiful.
I’ve always loved Zac Posen for his breathtaking drapes. His craftsmanship and technical skills let the fabric speak for itself. I feel we share a similar design philosophy, which is grounded by the fabric.
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Where do you hope to be in the next five years?
Hmm, that’s what I’m taking some time out to think about. I’d like to go overseas, but unsure whether I want to go on and do my master’s or find a job. Long term, I would love to end up working in textile development, specifically in couture or knit.
How can we see more of your work?
Through my Instagram!
Get your tickets to the NGS Showcase at PayPal Melbourne Fashion Festival here.
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