Melbourne-based slow fashion label Coreprêt offers a modern take on power dressing
PHOTOGRAPHY BY ROHAN STANLEY FOR COREPRÊT
WORDS BY IZZY WIGHT
“Coreprêt came from a place of play and subversion, with a childlike intrigue towards the corporate world.”
The concept of ‘power dressing’ was born in the latter half of the ’70s, helping women in male-dominated workplaces establish their professional authority. It was the embodiment of dressing for success, entailing sensible shoes, conservative roll-neck sweaters and double-breasted jackets complete with severe shoulder pads. A skirt was a nod to femininity, separating the women from their pant-clad male counterparts.
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“Driven by a fascination with the daily routines of Melbourne women,” Melbourne designer Nessie Croft started her slow fashion label, Coreprêt as an inquiry into modern professional dressing. Juxtaposing ’80s-esque masculine silhouettes with soft, feminine detailing, Coreprêt makes high-functioning womenswear for work and play. Below, Nessie speaks on creativity, upcycling and what it takes to make considered clothing in 2023.
Tell us about you. What’s your fashion background?
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I’ve always been creative, but I certainly didn’t start off in fashion. Growing up, my creative expression was through drawing, painting and music. I dabbled in the idea of architecture as I got older and finally landed in fashion…
I saw it as an immediate and intimate form of creativity – one that aligned with my broader values and a medium that can be more readily interacted with. I always had a fascination with fashion as an art form, which I finally pursued when I undertook the Bachelor [of Fashion Design] and Honours program with RMIT. Much to my surprise, it felt like the most natural and exciting avenue to explore.
How did the label get started? Talk us through the process and the challenges.
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Coreprêt evolved post-graduation as more of an extension of the themes and techniques I was exploring during my university degree. As most fashion graduates know, the job landscape can be quite limiting when you first enter the world, and after four years of being absorbed in fashion creation, I had the desire to see where that would go.
From here, Coreprêt was born, initially as a platform to share my ideas and upcycled propositions with the world. Then, there was a little bit of a snowball moment, where Coreprêt moved away from the creative practice it was based on into the commercial world – one that required speed and scale.
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As a designer whose practice is based on upcycling (which is a technique that takes old, discarded and damaged materials/existing garments and turns them into something of higher value), it was quite difficult to comprehend scaling up. This was a constant barrier to the industry. Equally, you are constantly learning on the job and when you wear all the hats, it can become quite exhausting.
Since 2021 (after a hiatus in 2020), I have reformatted my approach to the business, balancing scalable, inclusive styles with my one-of-a-kind creations. For me, this allows for innovative play while also producing small amounts of high-quality garments for my supportive audience. I’ve also built solid collaborative relationships, so the workload – although still large – can be managed by more than my hands.
What were you trying to achieve from the project at the time? How has this evolved and what are you trying to communicate through the brand now?
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Initially (and the essence of this is still there), I was looking at how fashion can be a communicative tool for change. This involved questioning how we can disrupt the current fashion system that is inherently unethical (across both people and planet) and propose an alternative way of operating.
Fashion is inherently linked to society, it acts as a milestone for history and reflects the present cultural dynamics and systems in place. By creating a brand that challenged the notions of relentless seasons, over-production and minimal transparency, I hoped to instigate deeper conversations about how we interact with our clothes and how our clothing choices are heavily linked to our personal narratives. In some ways, that ethos has not changed.
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I’m still drawn towards that type of poetry, believing in the power of fashion – even the simple act of getting dressed. What has changed is that my understanding of the industry has deepened, my conversations have evolved and my business operations have expanded. I’ve taken what was essentially a university project and turned it into a viable business, one that operates in a way that ethically aligns with my values and my community.
How would you describe Coreprét to someone who’s never seen it before?
Bold, colourful and assertive. Coreprêt is made for people who want a more personalised approach to fashion.
Where did the name come from?
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Coreprêt came from a place of play and subversion, with a childlike intrigue towards the corporate world… driven by a fascination with the daily routines of Melbourne women and the pace and repetition of their lifestyles.
But the name is equally about taking back ownership over the corporate world that holds so much influence in modern society and challenging what that could mean, especially in the context of good business practice.
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What I also thoroughly enjoy is someone else’s impression and dissection of what the name could mean, which again opens up what we do for interpretation. This works for me in terms of the natural fluidity of design and how it continually evolves.
What are you most proud of in your work on your label?
That I have stayed true to my values, which can be hard when faced with a system that perpetuates growth at the expense of everything else. I am proud of the product I have put out into the world, the quality of make and the deep consideration that has gone into every design. Equally, it’s the relationships I have formed throughout my early career with local creatives and suppliers. I would not be here if it wasn’t for them.
What do you wish you knew when you started?
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Honestly, nothing. If I’d known how hard it would be, the personal sacrifices I would have to make to be creative whilst operating commercially, I might not have done it. Sometimes naivety can be good, as knowing reality can become a block.
Who do you think is most exciting in Australian fashion right now?
I feel like Australia, especially Melbourne fosters young designers really well. Equally, we have some heavy hitters internationally which is always inspiring to see. Locally, I’m a big fan of Mara Foster, The System, A.bch and Laura Galati. Australia-wide, I am loving what Maara Collective are putting out, and always enjoy Romance was Born and All is a Gentle Spring.
What about the Australian fashion industry needs to change?
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We have a lot going for us. We produce some exceptional cotton and wool and have innovators across the country. Our style and perspective are unique, but what I would like to see is more onshoring of manufacturing through investment in infrastructure and skilled workers and more support for emerging designers.
This could entail subsidised studios to work in and more collective spaces that can support shared equipment, ensuring the act of making is less prohibitive for young designers straight out of university. I think we have a unique opportunity now post-COVID to really celebrate Australian fashion and revitalise our onshore manufacturing and skill base.
How can we buy one of your pieces?
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My website is the most direct platform to view and purchase all of our products, but you can also book a time to come into our studio showroom in Collingwood and try on any of the pieces. You can even commission a bespoke piece if that’s more your vibe – this means you can make the decision to commit to a garment based on fit and even material, resulting in a more tailored approach. Our Instagram channel is also the best place to get updates on any pop-ups or new stockists.
You can browse the Coreprêt collection here.
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